Korean picture taker and photojournalist HaleLee Seoyeon breathtakingly catches the Catch 22 of merciful disengagement in urban spaces. Roused by her beloved recollections, Seoyeon's photos are frequently divided, recording shriveled hands getting a handle on at wallets, or the concise physical touch between two arrangements of fingers trading cash at a magazine kiosk. Solitary sales representatives gaze insubordinately at the group of onlookers, encompassed by a claustrophobic bedlam of confections, tidbits, and magazines. In every one of her works, there exists a basic compassion for the ordinary battles of mankind push into urban life. The craftsman is presently situated in New York.