Bang Hai Ja's acceptance was further facilitated by an exhibition of Asian art in 1969 and in particular by the support she received for Pierre Courthion soon after her arrival.

[4] As abstract art began to lose appeal in both France and Korea in the late 1960s, when Bang Hai Ja returned to her native country in 1968 she became more interested in the qualities of materials, especially paper or hanji.

She then embarked on a period during which she made wide use of natural materials, concentrating on the theme of light as a basis for providing inspiration of the soul, leading East and West to strive for peace.

She further explains that she was captivated by the sunlight that was reflected on the little stream on the side of her grandparents' house, and started to wonder if she would be able to capture this beautiful and mesmerizing light with her brushes and paints.

When she makes her art, she begins by crumpling the paper in the middle which acts as a singular point to start with when applying the hue.

The first crumpling of the paper in the middle is the physical point where the art piece begins, and therefore reflects the idea of singularity, the light being the origin of everything.

For the Christian and Catholic audience, light can be read as the nature of God since it is used as a symbol of goodness, holiness, and spiritual pureness in the Bible.

Also, some of her initial works were installed on the wall of one of the cathedrals located on Jeju Island in South Korea in 1969, and also she held a solo exhibition in Chapelle Saint-Louis de la Sale triere in 2003.

With the fundamental philosophy of her art piece aligning exactly with Buddhist ideals, it is not a surprise that a lot of her installation works with active interaction and conversation with space took place in temples.