In 1970, Eun Nim Ro moved to Germany and worked as a nurse assistant in Hamburg. The confrontation with the western world resulted for Eun Nim Ro in a crisis, but also in a change. Detours led her to Hamburg, where she studied painting between 1973 and 1979 under Hans Thielmann and Kai Sudek. She developed an intuitive style of painting, which combined Korean brush-and-ink drawings with the expressiveness of western art. At the beginning of the 1980s collage-like, delicate compositions of torn soft tissue, which were over painted with damped colors, came into being. Eun Nim Ro transferred the appreciation of paper from home to arts and the sheets of mulberry and rice plants were not only the base of her drawings and mixed media, but also media of expression and arrangement. The closeness to nature and its material was also mirrored in her choice of motifs, which Eun Nim Ro gathered from fairy tales and the Korean mythological world. Naively painted signs of fishes, birds, trees and human figures became symbols, which were altered by Eun Nim Ro's fast ductus to beings which show nature as a continuous cycle. Eun Nim Ro's work is not constricted to painting, but also overlaps other media of artistic expression, e.g. sculptures, ceramics, performances or installations. At the end of the 1990s works for public areas came into existence, e.g. designs for the glass windows of the Johannis-church in Hamburg in 1997 and light walls for government buildings in Seoul in 1998/99. Eun Nim Ro lives and works in Hamburg and Michelstadt.