My practice investigates technology’s simultaneous effects of liberation and control on our spatial and material experiences.

My fascination with painting started when I immigrated from Seoul. Unable to speak English, I sought refuge in the imaginary landscapes of video games. The fantasies in these virtual worlds inspired me to reimagine my spatial belonging by painting self portraits atop digitally collaged photos of my surroundings. This childhood experience of using art to question my body 's relationship with the built environment still influences my practice.

Now, as an artist with a background in venture capital, I paint to reflect on the implications of emerging technologies. My current body of work explores technology's enhancement and disembodiment of human experiences. Capturing this duality, I depict decay and dematerialization of our environment contrasted with the glossy aesthetic and spatial distortions of virtual spaces. Conceptually, I draw on political theories that examine systems of control and freedom, and my paintings are a vehicle for continued research into being both the subject and object in techno-capitalism.

By intervening traditional painting techniques with digital tools, my process embodies our technologically mediated experiences and challenges the notions of representational painting. My collaboration with various machines and softwares questions authorship and captures the irony of achieving tactility through digital tools. I begin by collaging 3D digital scans of my surroundings to design uncanny 3D environments in Blender, where I then capture various perspectives for my painting compositions. I give new physicality to my digitally reconstructed surroundings through paint, airbrush, and laser-etching, treating the laser-machine as another brush to precisely translate the digital debris of my 3D renderings into physical marks.