After transitioning from running a fashion brand to 3D animation, I became immersed in highly optimized digital pipelines. While these systems enable the rapid production of flawless imagery, I became increasingly interested in how such images are perceived and why many of them fail to feel present or believable. My work explores this gap between technical perfection and perceptual resonance.
I combine controlled digital workflows with physical materials such as clay and drawing, not to simulate tactility, but to introduce it as an active force. Digital systems provide structure and clarity, while physical materials disrupt, soften, and ground the image. This tension is not only aesthetic, but perceptual. I am interested in how viewers read images, and how texture, imperfection, and ambiguity can shift attention, emotion, and meaning.
For me, image-making is not only about execution, but about constructing experiences that register. Technique is a vehicle. An image without resonance is, as we say in Korean, a “flower without a scent.” I use both advanced digital tools and tangible materials to build images that hold presence, texture, and emotional weight in today’s visual landscape.