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Image 1 of 1
Image 1 of 1
Image 1 of 1
Korean hanji paper yarn, linen and hemp yarn, handwoven
85 x 135 cm
2026
My work asks how matter survives through change. Growing up close to nature in rural Korea, I came to understand plant life less as fixed form than as a precise system of adaptation. The ways plants wait, accumulate and begin moving again have become a starting point for how I think about material and sculpture.
Weaving is the foundation of this thinking. A thread gains structure through its relation to another, while repeated handwork accumulates time as density. I weave the time in which matter passes from one state into another. Form emerges through an exchange between my intervention and the material’s resistance.
The resulting textile bodies continue this negotiation with their surroundings. They borrow support from space, respond to gravity and assume different postures in each site. For me, form is not a finished condition but something continually adjusted through relation.
I am also interested in the life a material has lived before becoming an artwork. The traces of growth, processing and movement continue to shape what it can become. I therefore see sculpture as a temporary state within a longer material life.
My work asks whether persistence means remaining unchanged, or retaining the capacity to transform.
Korean hanji paper yarn, linen and hemp yarn, handwoven
85 x 135 cm
2026
My work asks how matter survives through change. Growing up close to nature in rural Korea, I came to understand plant life less as fixed form than as a precise system of adaptation. The ways plants wait, accumulate and begin moving again have become a starting point for how I think about material and sculpture.
Weaving is the foundation of this thinking. A thread gains structure through its relation to another, while repeated handwork accumulates time as density. I weave the time in which matter passes from one state into another. Form emerges through an exchange between my intervention and the material’s resistance.
The resulting textile bodies continue this negotiation with their surroundings. They borrow support from space, respond to gravity and assume different postures in each site. For me, form is not a finished condition but something continually adjusted through relation.
I am also interested in the life a material has lived before becoming an artwork. The traces of growth, processing and movement continue to shape what it can become. I therefore see sculpture as a temporary state within a longer material life.
My work asks whether persistence means remaining unchanged, or retaining the capacity to transform.