Miro Kang invites audiences to explore the intricate language of color and the associations of memory created by the light in her introspective art pieces. Her works consist of abstract stripes superimposed onto long LED light fixtures, and they provide an immersive space made of light and colors. Within this location, akin to a playground or the interior of a home, the emotions and the relationships of daily life interact in an open-ended manner with the memories and reflections that are central to the persons’ psyche. Kang’s multi-media and light-based pieces facilitate the psychological and memory-based encounter with the self through the evocative use of color and light, which in and of themselves relate to the ambiguous hues of memory.

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Central to Kang’s practice is her use of curved, translucent slate panels housed in rectangular frames. These materials, reminiscent of architectural windows, form a metaphorical "window of emotions," blending art and space into multidimensional and multi-angled narratives. The painted areas on the slate surfaces shift with the viewer’s perspective, creating dynamic optical illusions and evolving hues that stimulate memories and associations.

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Kang’s work is akin to a mirror and a key, in which the viewer reflects on the self by accessing chambers of past experiences, which are inscribed as events onto the surface like tattoos or tablet writings. The identity formation of the person can also be described as the layering of sedimentation, as well as the galactic clustering that interlock with one another in a web-like manner. Each memory chamber can be accessed through a suggestion of a presence or the quality of light that color the entire event; for example, the sun setting and flooding the classroom with warm light through the windows.

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For each person who experiences Kang’s work, the emotions and memories suggested by the patterns of color and the lights behind them are uniquely varied and different. In fact, the striation of colors contribute to the emotional complexity and the visual layering of information. For example, a bright cyan being sandwiched between purplish blue and pinkish red suggests something abrupt or enclosed, which would differ drastically from a gradation of colored stripes that transitions smoothly from red to orange and to yellow. The sequencing of stripes also relates to how we remember the events, not always linearly.

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Kang's work is a statement on the intertwined and interwoven nature of the human experience, identifying the process of how the observer (beings) experiences and remembers events and how these memories shape the identities of the persons who revisit the memories in the present. Kang’s work provides the open environment of light and color, where the  juxtaposition of the past with the present manifests in the viewer. By engaging with these shifting and suggestive forms, the viewers are invited to immerse themselves in a dialogue of empathy, introspection, and rediscovery.