about

My body of work flits between the natural and the technical to converge environment, hope, and culture with the mystical creativity of research. In my process, I sketch exacting lines for my drafts but then recolor areas on instinct, creating precise yet authentically human artwork.

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Human interaction with nature often comes with mixed results. I use blended tones and central composition to depict the toil of an overshadowed worker sorting piles of refuse. Pastel and watercolor gradients show the beautiful Dish landscape with the indelible mark of human in fence-caged grasses.

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Light threads through my earlier works: the contrast between bright, warmer tones and muted grays represents hope. This juxtaposition frames themes of childhood pressure and escape. I use light as personal inspiration—it crosses my self-portrait and washes the shadows of my room.

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Nature and culture coalesce in my grandmother’s portrait. The immortality of the national Mugunghwa flower in the style of Minhwa, traditional Korean folk painting, lies behind a classical pencil drawing.

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Research, technical as it may be, is beautiful in its creative process. My abstractions of complex scientific phenomena clarify intangible ideas and societal questions—how can we create better skin grafts with supercritical CO2? How can we recognize emotion? Through patterns of purple tissue stains overlaid on lab machinery and cyan facial heatmaps, I illustrate the flowing details of scientific discovery. My final piece, a chimeric antigen receptor hunting cancer cells, is an amalgamation of hardware and animals—a mystical creature representing the wonder of bioengineering that mixes creativity with technical innovation.