Having grown up in a highly conservative environment in Seoul, GaHee Park experiences frequent social disapproval when it comes to the sexually explicit nature of her work. Now living in New York, Park has embraced still-life painting as a seemingly inoffensive part of her practice, that a more conservative audience—her parents, for instance—can stomach. Recalling the complex symbolic constructions of 17th century Dutch Vanitas paintings, a bouquet by Park presents a seemingly mundane array—flowers, animals, windows—loaded with signs and symbols.