Asian Movie Night:
Asian Animation Short Festival <Monologue of Dreams>
Visuals for Asian Movie Night seasonal festival
Poster, Social Media
2023
Asian Animation Short Festival <Monologue of Dreams>
Visuals for Asian Movie Night seasonal festival
Poster, Social Media
2023
Asian Movie Night:
Seasonal Festival Spring 2023
<Songs of Mourning>
Visuals for Asian Movie Night seasonal festival
Poster, Social Media
2023
Seasonal Festival Spring 2023
<Songs of Mourning>
Visuals for Asian Movie Night seasonal festival
Poster, Social Media
2023
Cuteness; that’s what we believe
Growing up in South Korea immersed in Asian culture, I couldn't help but notice the prevalent media portrayal of women willingly sacrificing themselves to uphold male authority, deeming it normal. When I voiced my concerns about this skewed representation, I was often brushed off as overly sensitive. The emergence of the 2015 reboot feminism movement in Korea, primarily fueled by online activism, brought attention to this ongoing issue, yet the objectification of women in media remained a contentious topic. It was during my studies in Western culture in the Netherlands that I came to understand the stark contrast in how women were depicted outside of Asia. Eastern cultures, especially in Korea, China, and Japan, tended to idealize women with passive, compliant attributes, often characterized by soft speech and graceful conduct. This revelation served as the catalyst for my project, "Cuteness; that’s what we believe." In 2022, this project culminated in a video essay dissecting the portrayal of Asian women in the media, specifically within the realms of entertainment, YouTube, and influencer culture. The essay compellingly showcased how these women frequently conformed to societal expectations of female behavior. Following this, a series of paper-based publications, drawing from the imagery in the video essay, were released to underscore the objectification of women.
Link to watch
Video Essay
2020
Growing up in South Korea immersed in Asian culture, I couldn't help but notice the prevalent media portrayal of women willingly sacrificing themselves to uphold male authority, deeming it normal. When I voiced my concerns about this skewed representation, I was often brushed off as overly sensitive. The emergence of the 2015 reboot feminism movement in Korea, primarily fueled by online activism, brought attention to this ongoing issue, yet the objectification of women in media remained a contentious topic. It was during my studies in Western culture in the Netherlands that I came to understand the stark contrast in how women were depicted outside of Asia. Eastern cultures, especially in Korea, China, and Japan, tended to idealize women with passive, compliant attributes, often characterized by soft speech and graceful conduct. This revelation served as the catalyst for my project, "Cuteness; that’s what we believe." In 2022, this project culminated in a video essay dissecting the portrayal of Asian women in the media, specifically within the realms of entertainment, YouTube, and influencer culture. The essay compellingly showcased how these women frequently conformed to societal expectations of female behavior. Following this, a series of paper-based publications, drawing from the imagery in the video essay, were released to underscore the objectification of women.
Link to watch
Video Essay
2020
Cuteness; that’s what we believe
Publication
2022
Publication
2022
What is Sooooooooooap?
Fluids possess a unique ability to navigate obstacles, permeating some, dissolving others, and leaving solids they encounter altered. This fluidity mirrors our rapidly changing world, a concept articulated by Zygmun Bauman in "Liquid Times," emphasizing the impermanence of bonds in our contemporary society. We straddle the realms of digital existence and reality, acting as both creators and custodians of virtual extensions to our lives. As conduits between the virtual and tangible, we depend on and coexist with this medium. This project materializes this dynamic, beginning with a monitor's loosened frame, allowing the screen to spill forth. This act, reflecting the boundless expanse of digital space, serves as a starting point, imbuing the video with a sense of liquidity. The gap between screen and frame dissolves the confines of digital space, as screen surfaces expand into physical space, embodying the 'in-between' condition. These surfaces contain both digital content and glimpses of the physical world beyond. Eventually, they cascade to the floor, assuming a liquid form that permeates and spreads across it, ultimately reaching a mirror. This continuous flow establishes a nuanced state between the digital and physical realms, perpetually looping in an ever-evolving interplay.
Installation
2022
Fluids possess a unique ability to navigate obstacles, permeating some, dissolving others, and leaving solids they encounter altered. This fluidity mirrors our rapidly changing world, a concept articulated by Zygmun Bauman in "Liquid Times," emphasizing the impermanence of bonds in our contemporary society. We straddle the realms of digital existence and reality, acting as both creators and custodians of virtual extensions to our lives. As conduits between the virtual and tangible, we depend on and coexist with this medium. This project materializes this dynamic, beginning with a monitor's loosened frame, allowing the screen to spill forth. This act, reflecting the boundless expanse of digital space, serves as a starting point, imbuing the video with a sense of liquidity. The gap between screen and frame dissolves the confines of digital space, as screen surfaces expand into physical space, embodying the 'in-between' condition. These surfaces contain both digital content and glimpses of the physical world beyond. Eventually, they cascade to the floor, assuming a liquid form that permeates and spreads across it, ultimately reaching a mirror. This continuous flow establishes a nuanced state between the digital and physical realms, perpetually looping in an ever-evolving interplay.
Installation
2022
