Lending its title to the exhibition at White Cube Seoul, Míope (2026) takes its name from the Portuguese word for ‘nearsighted’, a condition that could aptly describe Rheingantz’s landscapes more broadly, involving forms often caught at the edge of focus. Fragmented botanical motifs ripple across the surface in vivid sprays of mauve, lavender and ochre, rendered with a precision reminiscent of Pointillism.