Epic Tales orchestrates a sophisticated spatial dialogue between Yang’s monolithic sculptures and her specular interventions, synthesizing a site-specific “temple” that interrogates the temporal friction between historical gravity and future suspension. At the center of this inquiry is the OTTOGI, re-contextualized not as a folk object but as a formalist study in equilibrium. These monumental volumes serve as an ontological anchor, their structural persistence a counterweight to the Elysium Series. In the latter, Yang SoonYeal uses the mirror as a medium of phenomenological disruption, dissolving the boundary between the viewer’s physical reality and a fractured, surrealist interiority. The interplay between the murals’ solid mass and the mirror’s liminal presence creates a curated heterotopia. Here, the exhibition functions as a metaphysical crucible, challenging the observer to reconcile the atavistic weight of human history with the incorporeal weightlessness of an impending, digitized future.