The City・Lady series began with an ordinary urban scene: commercial towers at night, their glass façades reflecting both mannequins and women walking by. Inside the windows, bodies are carefully staged; outside, they are captured unintentionally—stretched, fragmented, multiplied. The overlap between real women and constructed images led me to ask: Are we seeing her, or her reflection? Is the city looking at her, or is she looking at the city? Architectural forms are reduced to geometric lines, while faces and features become symbols—at once individuals and anonymous figures. These paintings do not seek to provide answers; instead, they invite viewers into the reflection. When you pause before the glass, your own shadow becomes another layer in the image. Amid these multiple reflections, what is real, and which of them is “me”?