The title of my work, "Inside-Outside" has the meaning of "inside/outside" or "front/backside. Through my work, I have always wanted to ask the question, "How do we live in this world? I have always wanted to ask the question, "How do we live in this world? In this process, "boundary" has been one of the most important perspectives in my contemplation of this question. Differences in the recognition and treatment of "boundaries" are deeply related to various problems that modern society faces. To begin with, "boundaries" are something that can be viewed negatively or positively, and even "inside/outside" and "front/back" are not so simple and easy to handle and judge. That is why I feel the need to think about what "boundaries" are and how to deal with and relate to what lies beyond them. My grandmother and parents were Christians, and I myself attended church as a child, so stained glass was a familiar presence. As a child, the beautiful light falling through the stained glass windows beyond the altar made me feel as if I was in a different world from reality. Now that time has passed and I have experienced various things, my non-Christian eyes seem to see the scene from a different angle. This time, as a metaphor for "boundary," I considered stained glass itself as a "material. By confronting stained glass as a whole, including its history, style, technique, and cultivated image, I wanted to look at the nature of "boundaries" that we have to face in our lives. In this work, large transparent glass panes of the same size as the five windows on the wall are broken by hammering stones into the panes, which are then connected and fixed with lead wire. The stained glass technique itself, in which cut pieces are joined together to form a single piece, is connected to the words "division" and "rebirth," which are very important to Christianity. In this work, I digested such various information and elements related to stained glass, piled them up like layers in my mind, and made them into a work of art.