The Museum of Photography, Seoul(MoPS) holds a solo exhibition, entitled mirrorscape , of artist CHO Duck Hyun, who has presented ‘photo-like’ drawings and installation works in which faded photos are transferred to canvas. In this show, CHO introduces not only photography, but also various works that have been used photography as motifs. It is an exhibition that shows the artist's thoughts on the role, meaning, and relationship with other genres of photography that have been asked and conceptualized through his work along with his idea of "photo-like picture, picture-like photo." Since the 1990s, CHO has been working on ‘photo-like’ drawings that recall and re-illuminate the figures of the past in the photos by using pencils and charcoal to elaborately transfer them on canvas. Photography, which guarantees the facts of the past, is an important medium that forms the starting point and foundation of the artist's work. The exhibition introduces about 30 pieces of ‘picture-like’ photographs, including the series of mirror walk, uchronia, and painterly, as well as 6 large-scale installations, and 5 middle and small-scale paintings. Among them are installation works and drawings that homage to Korean modern and contemporary photography collection of MoPS. Furthermore, approximately 200 photographic works will be shown on FHD display. In this exhibition, the mirror is a key device and a keyword. The artist place photography in a cube filled with mirrors or by installing a mirror under the canvas to create a double image through mirror reflection. In addition, the works directly reveal the image reflected in the mirror like decalcomania, or are closely connected in the form of 'black & white and color' and 'photo-like picture and picture-like photo' facing each other. This is a visualization in space of the infinite interaction of opposing images, such as the past and the present, light and dark, existence and fiction, which the artist has worked on so far, and eventually the exhibition mirrorscape becomes a work of art in itself. “I want to actively but flexibly integrate strict reality from photography and freewheeling emotion and existential texture from painting in the expanded category of picture. Pointing out what you were going to do instead of what medium you used would be as self-evident as having to look at the moon instead of the finger pointing at the moon.” – from Artist’s note