“One of the most important ideas in traditional Korean architecture and art is the aesthetic of emptiness — practicing the beauty of the void,” Nina Cho explains to me over the phone from her studio in Detroit, where she recently set up camp after graduating from Cranbrook. “In painting, the unpainted portion is as important as the portion that was painted; it’s about respecting the emptiness as much as the object.” Cho should know; she was born in the States but grew up in Seoul, and as a child she would often visit traditional Korean architecture sites. But little did she know the impact those visits would have on her future career.