The first three works—Another Landscape, Sweet Dreams, and Indo Milk—present a visual exploration of how landscapes exist within domestic (indoor) spaces. In these paintings, the landscape does not appear as a conventional open environment, but rather manifests through everyday objects such as a phone screen, electrical outlets, or a glass. This approach suggests that the human relationship with landscape remains continuous, even when one is physically confined or isolated. The landscape persists, though in reduced, fragmented, and shifting forms across different mediums. The presence of the cat functions as a representative element of absurdity, bridging the domestic space with a landscape that blurs the boundaries between reality and imagination.