Panning (2023-2025)
Panning explores the often unnoticed artistry embedded in the pavement of Seoul. These photographs, taken from a top-down perspective, transform familiar urban surfaces—such as bricks, pressed concrete, asphalt, paint, tactile paving, and found objects—into striking compositions. They also highlight graphic elements like pavement markings, the edges of paving materials, and the cracks formed from weathering. This perspective flattens the scenes, abstracting them from their original context, and invites the viewers to appreciate the cityscape as a series of graphic tapestries.
Dong-ho Daegyo 동호대교 (2024 - )
Dong-ho Daegyo 1 & 2 is an ongoing series examining the transitional spaces of Dong-ho Bridge, particularly where it shifts into an overpass dissecting Nonhyeon-ro. Cutting through Apgujeong’s Hyundai Apartment Complex and Hyundai Department Store—landmarks of one of South Korea’s wealthiest districts—the bridge becomes a lens for exploring urban infrastructure and class. The series focuses on the bridge’s weathered surfaces—palimpsests of urban life—continually patched with fresh paint. These layers mark the passage of time and cycles of maintenance sustaining the city’s relentless growth. The stark geometry of the girders, with their exposed structural elements, evokes a surprising dialogue with the Art Nouveau celebration of industrial materials and techniques. By documenting a structure often overlooked in favor of grander urban symbols, the work elevates the aesthetics of the ordinary and honors the uncelebrated labor that keeps such utilitarian forms functioning. Ultimately, it invites viewers to reconsider narratives of progress, class, and care inscribed in Seoul’s built environment.
Stereoscope (2025)
Stereoscope presents a compelling visual dialogue through the pairing of two images projected side by side via slide enlargers. The first image, an archival aerial photograph taken in 1954 by Lim In-Sik (임인식), depicts a cluster of hanoks in Ga-hoe Dong, capturing a moment in Seoul’s architectural history. Opposite this, a contemporary snapshot of U-Block pavers—a ubiquitous element of Seoul’s urban fabric—invites viewers to consider unexpected formal resonances.
This juxtaposition reveals an unspoken continuity in the city’s design language, suggesting that certain spatial and aesthetic sensibilities persist across generations, even as the built environment undergoes constant transformation. By placing these images in conversation, the work prompts a reflection on the ways in which collective memory, urban development, and cultural identity are inscribed in both monumental architecture and everyday materials.
works on paper (2024 - )
(315 x 440mm)
These works on paper are derived from photographs of the built environment, including original compositions and found aerial imagery. Through abstraction, the images are distilled into simplified arrangements of color and form. Each composition is first sketched onto paper and carefully cut by hand. The individual pieces are then painted with multiple thin layers of gouache, building nuanced colors with depth and complexity. Once complete, the painted fragments are reassembled like a puzzle and mounted onto a new sheet of watercolor paper.
