Woonyung Ja considers the place to be aesthetic material and she records the public phenomenon that occurs at the place.
For her, Hangang River(Called the miracle of the Han River) was where sand beach stretched endlessly and minnows were swimming around in the clear water. The present of Hangang River is not what it was. Like the Italian film Cinema Paradiso, the place experienced in the childhood disappeared and lives only in the image. However, are the memories in the form of image really true? The truth the artist believes in is only based on very fragile, variable, and distortable memories. So she visited the place of her memory. She found the stories of the deceased, theirs clothes and diaries on the riverside. After she faced the fragments of others, she could escape from the inner self and start to talk to them. Her work represents a "psychological environment" in which the physical, social place and the image of the surroundings of the Hangang River collide.
Woonyung has worked with the conflict between the space of personal memories and of others around Seoul and its aftermath.
In ZK/U, she continued her previous work, but it was more about the social space. To observe lone individuals and to record their experience of the neighborhood enabled her not only to find the public in city or society, but also to expose the capitalist system which hinders us from seeing our neighbors.