Since the mid-2000s when Kim Bohie started to live in Jeju Island, she has gradually been captivated by the charm of the exotic natural ambience generated by the interactions among its bright sun, indigenous vegetations, waters, and hills, and thus has been committed to the production of works depicting the delights of Jeju’s nature. Unlike her previous poetic landscape paintings made in the 1990s using pointillist techniques, Kim’s works of Jeju Island deal with luxuriant scenes with animals and plants that are impregnated with primeval energy. Her way of approaching the subject has been in gradual transition in term of the distance between the artist herself and nature; in the landscapes of her earlier period, nature is seen from a certain distance. Contrarily, in the works of her Jeju years, her eyes dive into nature and thereby the distance to the subject is much closer and intimate. Starting from her Jeju period, Kim’s intent has been to portray the prototype of nature as the source of life, and consequently, each and every being in her work is given clear, definitive colors and shapes, which imbue it with its own energy. In spite of the absence of speedy brushwork or distinctive texture, a variety of plants and animals are choreographed into a dynamic drama unfolded in the entirety of the picture planes.