Jung Ye Nam’s folk paintings are not realistic; they are abstract and even spiritual, unmasking the nature of the world and things. Just as a French philosopher once alluded that the universe discloses its mysterious appearance only to one who loves and stares at it, a process of meditating on and understanding the nature of the world and the things in it is like entering a secret room where she gets inspiration for her amazing creations. This is also the overarching achievement of Nam’s painting. Her folk painting has accomplished coexistence between the austere, simple, and fresh beauty of Joseon’s folk painting and the elegant, refined aesthetic sense of royal decorative painting in a subtle way. Her works have served as a model for many artists who find themselves on the boundary between tradition and modernity with endeavors and practices to embrace contemporary minimalistic modeling idioms that depend less on classical, antiquated moods.