[3][better source needed][4] In addition to these repetitive mark-making tasks which imparts a physicality to the painting, it also uses the hanji paper to create "planar conditions."

"[8] His work has been described as having a, 'breathing' quality: "immersed in the endless breathing and physical movements" that can be perceived as a kind spirituality of Oriental calligraphy rather than as 'painting'.

In this sense, Choi Myoung Young painting is perceived as a Buddhist 'copie des livres sacrés bouddhiques (寫經)' process.

“The monochrome screen created by Choi Myoung Young's vertical and horizontal brushstrokes is a planarized layer that appeared through the process and is a performance that task of imparts physicality.

"[10]The independent curator, Kim Yong-dae describes Young's work as a "simplified paradoxical process in which concepts and objects are endlessly overlapped, rather than divided into individual sounds, unlike the general writing system, and shows how to accommodate and capture only various situations without specific words.

Condensation and convergence through human physicality called 'fingerprints' in the digital media era is Choi Myoung Young 'Conditional Planes.'

It is a point of deep intersection with the 'Ilhoeng (一橫)' of Chusa Kim Jeong-hui (秋史 金正喜, 1786–1856), a Korean calligrapher, epigraphists, scholar and painter who rose to fame in Korea's later Joseon period.

Ilhoeng (一橫) is the quintessence of Chusa Kim Jung-hee's epigraphy calligraphy, which is said to encompass 309 monuments in a single width stroke.

"[12] In this era, sign and symbols were included, the rhetoric of shapes and images increased, and flat paintings with a rich texture were carved respectively.

"[13] The art critic, Byun Jong-pil writes in the essay, Choi Myoung Young, Exploring flatness for the spiritual return of material: “Choi Myoung Young was an artist who realized the process of placing a plane in one space, excluding any narratives, and ultimately acquiring its existence as a plane that merges with the space.

"[14]The article critic Shigeo Chiba describes Young's Conditional Planes series as: "overcoming conventional painting on the ridge.