Hyunjeong Lim never imagined she’d live in the United States. But when her husband got a tech job here in 2018, she suddenly found herself in San Francisco, some 5,600 miles from her home in Busan, South Korea. Right away, the couple set about exploring their new home on a series of road trips—and discovered a California landscape that felt very foreign.

“It was really magical—the sunshine and palm trees,” she says. “Outside of San Francisco, it’s so dry and sunny that it’s like an alien environment to me.”

Lim had been painting “realistic, imaginary worlds of the mind” since working on her MFA in London at Central Saint Martins more than a decade ago. But in California, the color and tone of her paintings began to change. “What affects my work most is really the nature and the climate environment around me,” she says.

Then the pandemic hit, and Lim was confined to her apartment. “The depths of my painting, the amount of detail or the time I put in increased a lot,” she says. “I felt like, if I make this painting more realistically or with more abundant details, I could feel like I’m in the outside world, traveling through nature all over again. Foliage, leaves, grasses, trees—I just gave extra, more.”

With her husband able to work remotely, he and Lim decided to seek out a more familiar setting, and wound up in Seattle. “It has four seasons, lots of mountains and forests, so it’s very similar to Korea,” she says.

Again, they hit the road.

In time, Lim had visited many of the most celebrated sites in the Western United States: Yosemite, the Oregon Coast, the Olympic Peninsula, the canyons, Utah, even Hawaii. These experiences became the material for her current Gallery 4Culture exhibition, Trip West, a collection of 31 surrealistic landscape paintings inspired by the places she’s been and the people she’s seen on her travels. Made using oil and acrylic paints, they include individual smaller paintings as well as diptychs, triptychs, and various combinations thereof.

Lim has been exploring this kind of imagery all her life. As a child, she spent a lot of time drawing things like mushroom houses and forest creatures. While in London, she returned to the National Gallery again and again to study the works of Renaissance masters, which she loves.

“The layering of thin, sparkling oil colors to build the landscape with tiny brush strokes—it really gives me a lot of joy to just to look at it,” she says of the Flemish paintings that live large in her mind.

When making one of her paintings, Lim synthesizes Renaissance influences with elements of Chinese or Korean screen painting and the idealized landscapes they present. She composes her works through a combination of compositional sketches and spontaneous, intuitive drawing, using her own photos as references and drawing on her own fragmented memories.

The paintings in Trip West not only contain worlds within worlds individually, their juxtapositions conjure even more imaginary places, which is why Lim labors over the way they’re arranged, using her computer to puzzle them together. Paintings may depict far away locations, but “put together, they make another context,” she says, explaining that she sees herself as the conductor of an orchestra. “Like, this painting makes pop sound and another one makes a bass tone.”

Though there’s a lot going on in each piece, Lim says she doesn’t have a specific narrative in mind for any of them. She leaves that for each viewer to fill in themselves, hoping the imagery will trigger their memories of the places they’ve visited in their own lives. “I really believe that strangers—each of us—could slightly understand each other better because we are looking at the same things,” she says.

Yet she acknowledges that some objects carry very different meaning in different places, like tents, for example. “I use a lot of cones or tent shapes because I like hiding something inside of it. The tent can be for lots of things,” Lim explains, noting the many ways she’s observed West Coast artists depicting teepees and tents historically.

“Sleeping in a tent is kind of a luxury to Koreans. We make a pastime of going to a camp site and enjoying nature,” Lim says. In contrast, in cities on the West Coast today, tents can indicate homelessness. “Those simple drawing can tell the different story to each viewer depending on where they’re from.”

For viewers at Gallery 4Culture, the scenes in Trip West may be full of familiar locations. But how might audiences elsewhere respond to them? Lim will find out this fall when she shows these works again as part of a solo show in Seoul. She laughs, “When I show my photos of these places to my friends in Korea, they’re like, where have you been?”

Trip West is on view through April 24.