I start my painting with automatic drawing, applying paint with brushes and other tools 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. Relying on the concept of Freudian Uncanny and others, my paintings seem to reflect the repressed memories of my childhood, especially the indoctrinated techno-utopian dream and its subsequent debacle, as a form of denatured nostalgia. Although I wish I could erase the period from my mind filled with mixed feelings of being awkward, anxious, manipulated, disappointed and yet occasional bittersweet flash memories, I have realized I am incapable of denying its existence or escaping from it because it already became an inseparable part of my identity. Likewise, while I did not want to deal with it again through my paintings, it seems I have failed to reject its return to my paintings from the unconscious. It was a rude awakening when I realized my techno-utopian dream mainly had been inculcated by the Korean military regimes through their manipulative propaganda for over a decade. Since then, I 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 many religions, we may have been being imprisoned 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 doomed to make the Nietzschean Eternal return, repeating the same mistakes perpetually, we are to be in a simulation hypothesized by Nick Bostrom. My current paintings, 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 anxieties about the current and the future, the ontological conundrum and the ambivalence toward the 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.