Abyss of Bits and Vinyl: Seoul presents a speculative post-natural world where fantasy and pollution intertwine. Created with generative AI, this underwater ecosystem emerges at the intersection of digital bits and persistent synthetic materials.

Its unfamiliar organisms resemble flowers, seaweed, and decorative objects, yet belong to no identifiable species. Both products of pollution and forms of adaptation, they inhabit an environment where data and synthetic waste become ecological conditions. The work evokes a world in which nature and artifice, life and residue, and matter and data converge, creating a sense of beauty and unease.

Gelatin Bloom Seoul reimagines AI-generated flowers as fluid, unstable forms. Drifting, stretching, and dissolving like underwater organisms, these flowers blur the boundaries between nature and artifice, life and illusion. Rather than reaching a fixed state of bloom, they remain in continuous transformation.

Presented as a multichannel video installation in a busy urban passage, the work juxtaposes the movement of digital flowers with the flow of pedestrians, revealing moments when synthetic nature becomes part of the city's everyday sensory experience.

This work explores the worldview of the Joseon period through an examination of historical paintings, maps, and folktales, with a particular focus on representations of the sun and the moon. Drawing on these historical and cultural sources, it seeks to reinterpret traditional perceptions of celestial phenomena through the construction of new narratives and visual imagery. In this process, distinctive elements from Ilwol Busangdo (Painting of the Sun and Moon Rising), Wonhyeong Cheonhado (Circular Map of the World), and the folktale The Brother and Sister Who Became the Sun and Moon, all associated with Korean sun and moon mythology, are incorporated into a short animation.

This work reinterprets Munjado, a genre of Korean folk painting in which Confucian virtues such as filial piety, loyalty, and trust are rendered as decorative characters filled with symbolic imagery. Traditionally hung in homes as moral reminders, these paintings embodied the values of their time. Using generative AI, I reconstruct these characters with symbols drawn from contemporary life, asking how centuries-old virtues might be understood today. The AI becomes a collaborator, translating tradition through a modern lens rather than simply copying it. The result is a dialogue between past and present, where cultural memory meets the visual language of emerging technology.

This work combines the flatness of traditional painting with the temporality of contemporary digital motion graphics, expanding the movement and narratives latent within still images. As viewers follow the flow of the screen, they experience a landscape unfolding into other memories and spaces. Through this continuous transformation, familiar scenes acquire new rhythms, perspectives, and emotional dimensions. Rather than simply animating traditional imagery, the work explores how digital media can reinterpret its visual language and reveal stories beyond the original frame. It invites viewers to encounter painting not as a fixed image, but as an evolving space of perception and imagination.

At Mangbaedan in Imjingak, families displaced by the division of Korea come every holiday to bow toward a hometown they cannot reach. The altar faces north, toward the closed border. Dowoemanghyang (圖外望鄕, “gazing homeward from beyond the painting”) begins from that quiet, enduring longing. A crane in a Korean folk painting, a traditional symbol of longevity and aspiration, steps silently out of its frame and flies to Mangbaedan, carrying the yearning of those who have waited for decades. The old painted motif now becomes a messenger between a lost home and the heart that has never stopped reaching for it.