Ostensibly, it may appear as if Ran Hwang is engaging in dualisms dark/light, void/solid, but her work reaches so much further while even challenging her own historic past. Hwang is always growing as a creator something that for some artists of her generation who have understood static as maturity, is antithetical to Korean traditional ways.
For her Beijing solo Hwang again exceeds expectations by producing large yet significantly layered philosophically astute works. Temple architecture plays a significant part in Hwang’s oeuvre as seen in her monumental Temple Complex which although ethereal in its white and pale green color, in its ghostlike form seems to be commenting on the loss of a glorious past and perhaps traditional spirituality. While the temples in the foreground are green they are overlaying white buildings in the background that due to their neutral tone can be read as disappearing or somehow losing their solidity analogous to the loss of royal power.
Hwang’s piece de resistance is a multi-layered, multi-dimensional, multi-media work that also incorporates ritual space with solid form. Her characteristic plum blossoms, are executed in buttons on plexiglas while a video projection throws their image onto the wall that changes their color. This layering process results in great complexity making for an interactive environment of multi-leveled consequence that like Hwang’s career has grown and expanded exponentially.

表面上，黄兰沉浸于黑暗与光亮、虚空与实体间的二元论。但她的作品意味深邃，甚至连自身的过往也一并质疑。身为创造者，黄兰与将稳定解读为成熟的同时代艺术家相似，他们均站在韩国传统形式的对立面。
北京首次个展上，黄兰层次丰富、兼具哲学性与敏锐性的大型作品让所有人眼前一亮。庙宇建筑在黄兰的诸多作品中占据了重要位置，艺术家极具纪念性的某件作品就与之有关。庙宇群落在素白与浅绿之间飘飘渺渺，它幽灵般的轮廓似在倾诉，缅怀那已然作古的荣耀与灵韵。位于前景处的寺庙是一色的绿，它们层层叠叠、覆盖于白色的背景之上。其中性的色调代表着消逝：如同失去王权一般，建筑物自身的稳定性也随之逝去。
多层次、多维度，多媒体的作品占据了黄兰创作的大部分，这些作品使用实体的形状来呈现仪式化的空间。带有黄兰个人特色的梅花以纽扣为媒介在树脂玻璃上绽放，当投影仪将图像投放到墙面上时，花朵的颜色亦随之改变。分层的工艺带来了巨大的复杂性，它有助于构建多层次下的交互式环境，也将黄兰的艺术生涯推入新高。