Karen Okimi aims to create a space between the painting and the viewer by replacing landscape layers with semi-transparent handwriting overlap. It is a space that extends from the painting toward the viewer. Decalcomania of scenery: She is trying to acquire a sense of parallelism in the painting by keeping the layers of landscape and horizontal lines in the painting. Speed of scenery: She attempts to capture such an invisible landscape of scenery change as an afterimage of the layer. Scenery and iconography: She draws the same landscape repeatedly from landscape photos in a combination of colors that do not make you think of landscape. By stopping where the handwriting is likely to be captured but it is not actually captured, it makes it possible to go back and forth between “landscape” and “iconography that is only for painting”.