Painting Series — Happening Changes

This series explores memory as an unstable psychological space, constructed through imaginations, senses, and emotions, and the inevitable gaps in recollection. Architectural structures and shifting geometries become metaphors for the mind’s attempt to reconstruct experiences that can no longer be fully recovered. Across the works, the past is neither fixed nor entirely accessible. Each act of remembering alters what is remembered, creating new versions of experience rather than restoring an original truth. The works therefore move between stillness and instability, physical space and psychological space, questioning our desire to preserve, control, and make tangible what exists only in memory. By treating memory itself as a medium, the series embraces distortion rather than photographic certainty. It asks whether reconstruction brings us closer to the truth of the past, or whether, in reconstructing what we remember, we inevitably invent both the past and ourselves.

Woodburning Series — Quarter Seasons

This series explores memory as a transformative force that evolves through time, tracing its persistence and transformation across the seasons of life and the spaces we inhabit: both natural and artificial. It reflects on the growing physical distance between people alongside our enduring psychological desire for intimacy, connection, and belonging. Through the changing rhythms of the seasons, the series considers how memory reshapes our relationship to place, to one another, and to ourselves, suggesting that even as time and distance alter what we hold onto, the desire for connection continues to endure.

Drawing Pair — Phototransformation

This pair traces my evolving relationship with light — first as a natural force observed in the environment, then as an engineered resource shaped by human technology. The earlier drawing captures the fluid, organic movement of illumination found in nature, created before I began studying solar power. The second reflects my experience working with recycled photovoltaic panels, where light becomes structured, geometric, and industrial. Together, these works contrast natural and artificial energy, revealing how our attempts to harness light transform both its form and its meaning.

Illustrations — The Child and Artificial Intelligence

Series The Only Real Person in the World explores the relationship between humans, robots, and perception. Drawing on solipsism and the thought experiment of the brain in a vat, the works question how we distinguish consciousness from appearance, and reality from what we imagine to be real. In an age of artificial intelligence, where images and experiences can be increasingly constructed, reality becomes not only something we encounter but something we interpret and create. Rather than seeking a definitive answer, the series embraces this uncertainty as a space for imagination, asking what it means to be human when the boundaries between the real, the artificial, and the imagined become increasingly fluid.

Monotone Series — The Fantasme

This series explores fantasy spaces where the physical world and the imagined one fold into each other, drawing on architectural forms, historical motifs, and literary symbolism to build environments that feel both familiar and otherworldly. Each piece uses markmaking as a way to suggest motion, where lines accelerate, pause, or fracture, creating a sense of speed, shifting light, and passing time within these constructed dreamscapes. Together, the works trace how fantasy can be mapped, inhabited, and felt through the energy of the marks themselves.

Mixed Media Works — Behavioral Economics

Across my behavioral‑economics research, I use forms and constrained structures in paintings and installations to expose how human decision‑making is shaped by bias, assumptions, and societal influences. These pieces critique the idealized models of traditional economics and highlight the psychological forces that distort rational choice. By materializing theories into tactile, often unsettling installations, my practice encourages viewers to examine their own cognitive shortcuts, trade‑offs, and the invisible frameworks that guide their everyday decisions.

Ecocentric
2022
Aluminum, yarn, flashlight, toy train
30” x 30” x 70”

A welded metal structure casts a clock‑like shadow, revealing how economic choices always circle back to the self with confirmation bias. The toy train and its enlarged silhouette evoke Plato’s cave, showing how our decisions shaped by upbringing, habit, and culture remain confined within personal “walls.” Ecocentric challenges viewers to step outside their own reference point and confront the egocentrism embedded in everyday judgment.

Installation — Collective Traces
2022
Paper, plaster, and hair
30" x 30"

Hair, growing from the head, becomes a metaphor for extensions of thought. Hair was collected from volunteers who received free haircuts, with each haircut separating layers of hair as if dividing layers of thought. Conversations during the process allowed participants’ thoughts to metaphorically enter the work. Once mixed together, individual identities become indistinguishable, forming a homogeneous collective. The work parallels this process with economics, where individuals are often simplified into collective groups based on shared choices and pre-established conventions. Although hair — and thought — appears light and flexible, both move through society according to recurring, sometimes imposed patterns. White tiles suggest waves and ambiguous directions, while rigid grids constrain the collective “thoughts.” At the same time, individual tendencies can become amplified within a collective.

Performance Installation — A Solitary Reverie
2021
Cloth, ink on paper, video media
40” x 80”

Sleep is a poetic process in which the brain relaxes and consciousness becomes detached from the surrounding world. Thoughts become more dissociative and arbitrary, yet can also feel more immediate, leading to an exploration of the self and an expanded state of mind. This project is an experiment in anti-painting. In a meadow near a forest, paint was poured onto a sheet of paper representing the freedom of exploration associated with sleep. The artist then slept on the paper. Rather than remaining the artist’s controlled medium, the paint assumed its own agency, moving and spreading around the body. Surrounded by rain and the impartial forces of nature, the sleeping body became part of an unpredictable process of making.

Interactive Installation — Living House
2020
Cardboard
10” x 10” x 16"

This interactive work consists of an abstract structure and an arrow-shaped finder functioning as a flashlight. Participants can manipulate the finder from different angles to cast shadows from the structure. Only from one particular angle does the shadow reveal the form of an abstract house on the wall. The work explores the uncertainty of finding a place to live and the difficulty of defining and securing living space in underprivileged communities. The shifting relationship between structure, shadow, and perspective also evokes broader forms of economic and social inequality, as well as the ways that access to place can shape personal identity and belonging.