My work develops through material-based abstraction in which perception, instability, and spatial tension emerge through process. Rooted in Jeju Island and shaped by migration to California, my practice engages displacement as a condition in which identity remains in continuous formation across shifting geographic and cultural contexts.

 A return to South Korea while caring for my father marked a turning point, shifting my work toward process as temporal accumulation, where material response and lived experience unfold as a continuous field. 

Fragmentation informs my approach to structure, influenced in part by the modular logic of Jogakbo, where assembly and cohesion are constructed through distributed parts rather than fixed unity. Working with Hanji (traditional Korean mulberry paper), I build layered surfaces in which material operates as an active field rather than support and image. 

Light emerges through material behavior rather than depiction. Variations in translucency, absorption, and depth generate shifting perceptual states. Grids and repeated marks function as provisional structures held under tension, while abrasion, creasing, and rupture register force across the surface. 

At close range, the work reveals fibers, fractures, and material disruption; at a distance, these conditions cohere into temporary fields of visual order. This oscillation between fragmentation and cohesion reflects my interest in perception as unstable and continuously negotiated.