The systematic approach of reduction characterizes Korean artist Ouhi Cha and is followed by the very particular materiality in her works. Although extremely simplified, they combine past and future and are based on her cultural experiences. Growing up in China and transferring herself to Western art appears in layers of paint and tradition. She sees herself as a constant voyager, escaping time and space, with no clear destination. The use of materials plays an important role in her works. The so called constructivist elements, as she describes them, mainly consist of wood and sailcloth. The artist repetitively manipulates these by her intuition and geometry , they appear as symbols, concealed to be later decoded. Ouhi Cha produces etchings and drawings on paper, as well as white monochromatic transformations of various objet trouvé. Facing delicate sentiments in her receptive approach, she uses the medium of art also as a tool for self- assertion and self- mirroring. Her earlier works differ in the free marks of elements in various large scale installations, collages and drawings. The division can be read geographically and is connected to her emotional state after leaving Korea and travelling to Europe and Berlin. Her works on paper and stone lithographs, not only become significantly larger , but also develop in depth and sensibility. The artist aims for a discussion between the works and their viewers. She herself describes her works as a ''symbiosis of constructivism and poetry'', indicating their value which lays in their uncertainty. She does that by giving viewers two clues to her works, which, first, may link to their materiality with associations of wandering and sailing, and secondly, the very own scrutiny of all forms of communication. Although those may not relate to each other directly, she focusses on the intercourse of the two, of decoding, simplifying, as well as discovering their materiality for a possible poetic meaning. Another idea followed by the artist is movement. Her artworks, not following a close plan nor destination, conceptualize ideas of exchange and the overall dialogical character of her works. All in the context of exchange, questions and connections to thinkable answers. She stresses what is left behind once you concentrate only on the brief and forceful statements. _Dr. Prof. Wieland Schmied: 'Glyphs that resist being read. Notes on the art of Ouhi Cha' aus OUHI CHA, Sail as a Wing'', Ouhi Cha, Top Process, Korea, 2008, pp. 25-28. _Sander; Anette; Krampitz, Dirk: ''Berlin von außen gesehen'', in: Welt, 29.07.2001, URL: https://www.welt.de/print-wams/article614612/Berlin-von-aussen-gesehen.html . _Cha, Ouhi: ''a boat is a moving island. 1990- 2006'', Top Process, Korea, 2006, pp. 14-115. _Cha, Ouhi: ''Objet Trouvé- dialogue between the lines. Anniversary Exhibition Jean Art Gallery Center'', Jean Art Center, Korea, 2004, pp. 13-15.