I start my painting with automatic drawing, gesturally applying paint with brushes and palette knives, to create a grisaille. At a certain point, some unbidden forms keep emerging from the primeval surface of paint; maybe it is my brain that projects some forms to the surface from the unconscious, similar to the symptom of pareidolia. Relying on the concept of Freudian Uncanny and others, my current painting seems to reflect the repressed memories of my childhood, especially the indoctrinated techno-utopian dream and its subsequent ignominious debacle, as a form of denatured nostalgia. It was a rude wakening when I realized my techno-utopian dream mainly had been fabricated and promoted by the Korean military regimes through their manipulative propaganda for over a decade. Since then, I have despaired of our reality but, at the same time, have been fascinated by the susceptibility of our perception to illusion and deception. As it has been constantly suggested throughout human history in the ideas of the Allegory of the Cave, Cartesian skepticism, Nietzsche’s ‘the veil of Maya’ and the teachings of Buddhism, Hinduism and those of many other religions, we may have been being imprisoned and disoriented in an illusion or, to put it another way, “a huge prison,” the world of Boschian Hypotheses, according to Leo Joseph Koerner in his book Bosch and Bruegel From Enemy Painting to Everyday Life. Being induced by the past and current events that demonstrate we are probably doomed to make the Nietzschean Eternal return, repeating the same mistakes perpetually, we are to be in a simulation hypothesized by Nick Bostrom. My painting, combined with the forms of denatured nostalgia, embody these ideas and suggest them through certain themes and modalities such as the themes of circus, the establishment of an implicit viewer’s space and others. As religions relinquishing the hegemony in the ontological hierarchy to omnipresent and responsive technology, sooner or later, and more likely than not, we would encounter a Janus-faced new god with the advent of Artificial Intelligence that can either help human civilization advance, evolve and prosper further or autonomously annihilate it. As my painting becomes confluent with the anxiety about the current and the future, the ontological conundrum and the ambivalence toward technology, it is to be a twilight zone where incongruent and even antithetical elements vacillate between: the past and the future: Western European paintings and animations seen during my childhood: the philosophical ideas and the pop-cultural notions: the gestalt and the notational images: the familiar and the unfamiliar: the conscious and the unconscious: the despairing and the hopeful: the nostalgic and the uncanny.