My work utilizes both found and fabricated form and considers the role of objects, the body, and raw material as systems and vessels that carry, conceal, conduct, and connect. I choose to work with materials that can withstand touch at its most aggressive and sensitive to the delicate. I am drawn to the familiarity of clay and wood histories in everyday spaces and their roles as objects of protection, desire, productivity, and violence.

 I use modularity as a medium to explore ideas of labor and leisure, inheritance, (un)belonging, and Asian American identity. The modular components are informed by the misplaced or misaligned fragments of the everyday. A half-bitten fishing lure, a barbie leg, a deflated soccer ball, an abandoned crutch, a marigold growing through a condom. Once translated into material the function of the sculpted fragment is defined by what it is doing- how it is affecting, supporting, and responding to another- rather than what it resembles. Using furniture joinery techniques and tension, I create forms referring to bodily presence using only small, scrap material that can be easily disassembled and reassembled, and most importantly, moved and manipulated on my own. The work is built to come apart. It is made with the idea that it will need to change.  My practice is deeply focused on touch and material sensibility as a method of connecting with Korean traditions of visual culture and collaboration through the reuse of material and found object excess sourced from local makers and fixers.

• BOLD: Challenging Norms, Igniting Dialogue