For Hong Seung-Hye, art is inseparable from life. She seeks to create objects that neither weigh too heavily nor disrupt reality. Beginning with painting and drawing, her practice has evolved through the pixels and vectors of the digital realm—beyond painting, sculpture, and relief—into installation, video, performance, architecture, and furniture. Her Mezzanine Lounge project The Painter’s Architecture, The Painter’s Furniture (2025) extends her recent interest in art that can be used, touched, and inhabited into a spatial experience. Emerging from urban life, digital language, and the tradition of utilitarian art, her works transform geometric abstraction into a lived, functional environment that invites visitors to share in her artistic vision. Artist’s Note The lounge’s furniture—created from flat, painterly color planes assembled in various configurations—alongside the architectural elements, including decorative carpets and glass murals, reflects the sensibilities and compositional language of a designer with a painter’sbackground. Russian Constructivists such as Vladimir Tatlin and Alexander Rodchenko, who began their careers as painters, advocated for the social utility of art and produced functional objects. Donald Judd’s transition from abstract painting to furniture design follows a similar trajectory. I believe that the social practice of abstract art, particularly geometric abstraction, finds its expression through architecture and design.