Rooted in Jeju Island and shaped by migration to California, my work develops through material-based abstraction in which surface, structure, and perception are produced as interdependent conditions of experience. A return to South Korea while caring for my father marked a turning point, deepening my engagement with process as something unfolding through time.

Working with Hanji (traditional Korean mulberry paper), I construct surfaces where material, structure, and perception remain in constant formation rather than resolution. The paper functions not as support but as an active field shaped through layering, interruption, and removal, extending each work beyond flatness into open spatial conditions.

Light is generated through material interaction rather than depiction. Variations in translucency and depth allow color to emerge and recede with movement and shifting position relative to the surface. Color operates through layering, exposure, and concealment.

Linear systems such as line and grid function as underlying frameworks held in tension with material instability. Repetition and rupture register force across the surface, producing structures that remain in flux.

At close range, the surface reveals ruptures, scratches, and creases; at a distance, these marks resolve into fields of relative stillness. These works sustain conditions of attention where material, structure, and perception remain in continuous formation.