Lazy Mike presents Oper Bomse (b. 1996)’s solo exhibition Sleep Montage at its new Cheongdam space. The exhibition explores the invisible state that is the “threshold between sleep and waking,” unfolding a psychological stage where reality and imagination intersect. Within an exhibition space where painting, sculpture, and installation are interwoven like a single ecosystem, the viewer is not merely someone who “looks” at works but becomes a presence that enters another’s dream, experiencing time slowly and in layers.

Oper Bomse has pursued a practice that ranges across diverse media, juxtaposing social tension with inner narratives. In this exhibition, he organically fuses tree and body, image and space, to visualize “memories that cannot be remembered.” Rather than proposing “healing,” the artist suggests “acceptance,” revealing—both poetically and physically—the process by which repressed emotions and forgotten memories grow again.

The exhibition follows a narrative structure that begins with the “state of sleep (Entrance)” and proceeds to “Immersion and Fusion,” “Inner Explosion,” and “Echo of the Dream.” Layers of the real and the unreal, memory and the unconscious, overlap, while the works dissolve their boundaries and connect like a single neural network. Within this structure, the “tree” recurs as a key symbol, functioning as a mediator that links consciousness and the unconscious, memory and vitality.

Sleep Montage visualizes a state in which memory can no longer be summoned by logic, yet layers of feeling remain alive through body and image. Through this, the artist translates “memory without memory” into the language of art, reviving the rhythms of feeling that modern life has forgotten.

Oper Bomse (b.1996) explores the relationship between image, material, and perception through painting, sculpture, and installation. His works merge physical structure with psychological space, forming layered compositions that evoke memory and imagination. Drawing on the immediacy and material tension of urban environments, he employs aerosol paints, facade and industrial pigments, resin, and wood to give tangible form to states of perception. Recently, he has expanded his practice into performance, treating painting as both a physical and temporal act.