Unself Portrait, 2019  
Double Mirror

A portrait of myself who was taught not to have a self.   

Double Mirror, 2019
Double Mirror

A woman looks at herself through mirror to find her reflected other. Within the enclosed circuit of looking and being looked at, the multiplicity of individuality reveals itself.

Terrestial Locomotion, 2019
Terrestial Locomotion

Bodies of glass trees rotate their wings to fragment light and vision. Viewers immerse themselves into dual characteristics of glass which are fragile and dangerous.

Mirror Organs, 2017

32 Robots perform in unison in between 2 interactive screens to create the theater of the collective. Error is the mark of individuality.


Stairway to Heaven, 2016


Live video performance, based on the popular K-soap opera "Stairway to Heaven", 2003, reveal structures of emotions for romance. Charcters in a double love trianlge make emotional decisions based on relational situations rather than having their own subjective drive, or will. A non subjective subjectivity is the archetype of emotional structures of Asian soap operas.

ARMY: 600,000 Portraits, 2016

The project is a portrait of soldiers who serve in the mandatory military service. The relationship between the individual and the collective is rather paradoxical. The video details the intricate bodily movements and emotions of individuals who form a collective body. Unnerving images describe an individual body entangled to the collective, to show an individual body that is divisible.

1.6 SEC., 2016

The 2 channel video work takes on viewpoints of robots in a car factory. Difference in a sense of time between the machines and human beings bring about conflicts. The camera favors life-like movements of robots rather than machine like movements of factory workers in an assembly line.


Space Time Machine is an installation of live video feedback of a kinetic sculpture. Video images capture movements, refractions and shadow of the machine creating an ephemeral deception of time, space, and materiality.


A Dream of Iron looks back on South Korea’s history of modernization in the 1960s, when the nation underwent drastic economic changes under President Park Jung Hee’s rule in attempts to recover from the devastation left by the Korean War. The work is a portrait of what now remains of this time, when its people shared collective hopes and dreams for the nation’s new beginning.


The work is a portrait of a small industrial area of Seoul named Cheonggyecheon. Drawing clues from fragments of dreams and myths relating to the metal, the work reveals the secret alchemy of third world modernity in Cheonggyecheon where these obsolete hand labors still survive.