# Biography
 I completed my undergraduate studies in Psychology and French Language & Literature at Yonsei University (Seoul), and earned a Master’s degree in Digital Composition at the University of Edinburgh (Edinburgh, UK). During my studies abroad, I encountered expanded concepts of sound and new directions in digital algorithms, which became a turning point in my artistic practice. Since then, I have been working within the broad field of media art, employing digital programming languages to pursue interdisciplinary approaches. 
 My work explores ways to create mutually ecological environments between the surrounding context and the artwork. Drawing on humanistic themes, such as linguistic symbols, the physics of time, insights into unconscious environments, and the imagery and presence of memory. I realize these ideas through environments shaped by digital algorithms. My artistic activities encompass indoor and outdoor installations, live performances on stage platforms, and algorithmic video works in outdoor contexts, allowing for diverse modes of presentation. Since the COVID-19 pandemic, my interest has expanded to the micro-ecological environment—including viruses and bacteria, and I have presented generative sound and media installations that investigate their emergent flows and structures.

# Work Statement
 As a sound and digital media artist, my practice explores the potential of text within digital media as the foundation of artistic expression. Digital media begins with code—numbers, letters, and symbols—which through specific processing forms intricate instruction sets that generate sound, images, and drive hardware. This invisible textual origin serves as a starting point for diverse, multilayered works, which are then developed into tangible forms through ecological processes and structural integration with technology. I mainly create interactive and generative audiovisual works integrated with spatial structures. Sound, as an invisible yet spatially formative entity, encompasses areas beyond human perception and has the capacity to sculpt space through waves. By arranging and processing sound, I explore both harmonic order and disruption, using it as a medium to critically reflect on overlooked aspects of everyday life. My approach incorporates a range of digital processing techniques, revisiting and transforming the physical properties of sound—such as friction, delay, spatial arrangement, and frequency tuning. Additional conceptual inspirations include genetic sequencing data examined during the COVID-19 pandemic and visualized symbolic systems, which feed into the conceptual and technical layers of my practice.
 Art inevitably reflects the world. While my work resists fleeting trends and anthropocentric notions of beauty, it actively engages with critical issues such as climate change, zoonotic diseases, polarization, ideological conflict, and war—pressing realities that define contemporary life. These concerns form the core starting point of my work, which examines their origins through the lenses of ecology, evolution, desire, politics, and history. My recent project, Belle Faust (2023), embodies this approach: starting from invisible textual and sonic foundations, it evolves through interdisciplinary processes to produce tangible outcomes. Through this practice, sound and digital media become tools to bridge conceptual thought, technology, and critical reflection, situating my work within a broader dialogue on the relationship between human perception, environment, and digital culture.