White Room White Mirror is a work that is a mirror and yet cannot be seen as one. A white cubic booth appears closed from the outside except for a narrow vertical opening from which strong light spills. Entering through that slit, the viewer is engulfed by white walls, floor, ceiling, and intense diffused light. On the wall ahead, a circular reflective surface almost disappears into the surrounding white; only its outline remains faintly perceptible.

The circular surface is produced by repeatedly applying, drying, and polishing urethane paint. It is reflective, but it does not return the self-image with the clarity expected of an ordinary mirror. The image does not merely arrive late; it fails to establish itself. Even so, the viewer has already been positioned as someone standing before a mirror. The image is absent, yet the relationship between body and mirror has already formed.

This absence reverses the act of looking. Within the white room, the viewer's body becomes the most visible dark element: white clothing dissolves into the space while dark hair remains. One comes seeking an image and instead becomes the thing that is seen. The work marks a shift from the mirror as a surface that reflects the self toward a spatial condition that reorganizes the relation between subject, image, and surrounding space.