The purpose of this article is to study Park, Mok Wol`s aesthetic renovation by analyzing metaphors appearing in his latter term collection of `mother` poems such as 『Mother』 and 『Large and Soft Hand』 and by showing newly generated poetic meaning and tension. For this study, Hrushovski`s theory of the frame of reference is used. In Chapter 2, the metaphor of life being formed by `existence` of mother is discussed. In his poems, centering on the space of `home`, status of existence/absence of mother forms metaphorical relationship. `Home` secures life force with the existence of mother and maternal life force existing in the memory appears by becoming realized. In Chapter 3, the metaphor of transformation being formed by `omnipresence` of mother is discussed. In his poems, mother has an attribute of omnipresence and thereby metaphorical chains by means of multi-layered frame of reference are formed. At that time, mother is transformed as a deity and obtains transcendence. In Chapter 4, unification metaphor being formed through `mediation` of mother is discussed. In his poems, mother is the existence that mediates poetic speaker and the Absolute. As mother as the transcendent existence becomes identified with the poetic speaker, in the end, the poetic speaker, mother and the Absolute become unified. As such, in `mother` poems appearing in Park, Mok Wol`s latter term poems, metaphor of life by means of `existence`, metaphor of transformation by means of `omnipresence`, and metaphor of unification by means of `mediation` are formed. In his poems, variously layered frame of reference is combined as metaphorical relationship and thereby creates poetic meaning and tension, through which recognitional extension and renovation are revealed.