In Relief, the artist applies a large amount of acrylic paint to two painted surfaces, applies pressure to the painted surfaces, and then pulls them apart to create a symmetrical texture. The technique of “decalcomania,” which is originally used to create symmetrical color patterns, is applied all over the painting, creating an organic sculptural form as an extension of the inorganic color surface; in other words, the “figure” as color and the “figure” as unevenness overlap each other on the same plane. This reveals the ambivalence that the picture plane inherently possesses.