Korean-American artist Janice Yang channels two decades of work in her family’s sushi restaurant into paintings that hum with hybrid symbolism. Her self-portraits appear in cluttered kitchens, but dream-like clouds and vistas intrude through walls and windows. Salmon — flayed, whole, or reduced to ash in pigment — recur as companions and avatars of an unfulfilled artistic dream.

Yang merges Korean visual culture with Western one-point perspective, nodding to a Joseon Dynasty scroll held abroad. Her palettes and textures feel tactile and strangely familiar, turning displacement into something both personal and universal. With residencies ahead in Johannesburg and Chicago, her evocative world is expanding.