My practice investigates the position of the human within the complex systems it has created.

I approach the contemporary condition not as a stable reality, but as an entangled structure where nature, technology, history, memory, and image continuously reshape one another. I do not see the human as an autonomous subject standing outside this structure. Rather, I understand identity as something that emerges from within a network of artifacts, mediations, and historical residues.

Artifacts once functioned as extensions of the body. Today they define the environment itself. Digital devices, databases, platforms, and algorithmic systems organize how we perceive, remember, and relate. This condition has been established in academic literature as Homo Digitalis, and I am building upon this discourse with a focus on how experience is translated into data, and memory becomes reproducible and distributable. Images no longer simply represent reality; they convert it.

This conversion produces entropy. As lived experience is transformed into information, it becomes detached from origin, fragmented, and recombined. Meaning circulates in unstable forms. Power operates not only through territory or physical force, but through visibility, omission, and algorithmic selection. Photography stands at the center of this shift, as the point where material reality first becomes a programmable surface.

In my work, I expose processes of mediation. I use distortion, noise, generative systems, layering, and spatial transformation to make translation visible. The image is not treated as a final object but as a site of conversion. A body can become a point cloud and return as a painted surface. Architecture can dissolve into digital interference. A ritual object can rotate as an algorithmic structure.

History persists within this structure. Growing up in South Korea, a nation shaped by unresolved Cold War tensions, and later living in Berlin, a city marked by division and reconstruction, sharpened my awareness of how geopolitical forces sediment into architecture, memory, and image culture. I understand history not as narrative, but as residue embedded in systems.

Across my projects, whether addressing collective emotion, digital transformation, ritual symbolism, or spatial distortion, I return to a single question: where does the human stand once artifacts become reality itself?

I do not propose a return to purity or authenticity. I acknowledge entanglement. Identity is not possession but process. The self is not singular but distributed. In this unstable field, fragmentation is not failure. It is condition, and within that condition, I search for new forms of perception.