Holding On is a deeply personal work that reflects both my lived experience as a former hospital phlebotomist and the universal search for dignity in death. During my seven years at the Moncton Hospital, I encountered death not as a distant concept but as a daily, human reality—felt through silences, final breaths, and the simple act of holding a patient’s hand.

This painting depicts a close-up of two clasped hands: one aged, frail, and wrinkled; the other firm, warm, and gently supportive. It symbolizes a moment of connection between caregiver and patient—a moment that research identifies as central to a "good death." According to studies from the Isenberg Lab, the most meaningful end-of-life experiences are marked by emotional comfort, dignity, autonomy, social connection, and the chance for closure. Holding On visualizes these ideals through the tactile language of touch.

Rendered in oil on canvas, I used fine, layered brushwork to emphasize the texture and age of the elderly hand—its visible veins, sunspots, and fragility—and contrasted it with the smoother skin of the caregiver’s hand. I intentionally avoided facial identity to focus on the universality of this gesture. The caregiver’s white clothing hints at clinical settings while the composition maintains warmth, compassion, and intimacy often lacking in institutional care.

This work also acknowledges the research on inequity in end-of-life care. Many patients—especially racialized individuals, immigrants, or those facing mental health challenges—do not have access to the gentle, dignified deaths they deserve. Having worked closely with underserved populations, I’ve witnessed firsthand how small acts of presence and care can restore humanity, even in systems that often strip it away.

Holding On seeks to evoke a sense of peace and reverence but also a quiet call to action. It invites viewers—whether they are healthcare workers, family members, or policymakers—to reflect on how we treat people in their final moments. Through this painting, I hope to contribute to a national conversation that redefines death not as a failure, but as an opportunity for compassion, presence, and love.

Ji Hyang Ryu is a Korean Canadian visual artist and educator based in Riverview, New Brunswick. Formerly a healthcare worker at the Moncton Hospital, Ji worked for seven years as a phlebotomist before transitioning to a full-time art career in 2020. Her experience in clinical settings continues to inform her artistic practice, inspiring deeply empathetic works rooted in human connection, caregiving, and emotional resilience.

Working primarily in oil and watercolor, Ji creates figurative and narrative-based works that bridge personal story and collective experience. Her paintings have been acquired by the Canada Council for the Arts and the Government of Canada for permanent display in Canadian embassies abroad. She has exhibited widely in New Brunswick, received multiple provincial and national art grants, and is a two-time provincial Art Battle champion.

Through her studio, Ji Hyang Ryu Art Studio, she has taught hundreds of students of all ages and continues to mentor emerging artists. Influenced by traditional Korean art and contemporary figurative painting, Ji’s work is driven by storytelling, emotional truth, and a commitment to representing marginalized voices—including immigrants, caregivers, and those at the end of life.