Born in Seoul (1980) and based in London since 2012, my practice has developed through three disciplines: History, Design, and Abstraction. These were not separate careers, but stages in how I learned to see and understand the world.

I studied History at KHU in Seoul from 1998 to 2003. That training shaped how I think about time, not as something linear, but layered. When I work on a canvas, I do not experience it as a flat surface. I experience it as accumulation. I build paint slowly, layer over layer. Some marks disappear, some remain visible. In that process, the surface begins to hold memory. The act of painting becomes a way of recording time rather than illustrating an image.

After studying at SADI (2006–2009) and working for years as a designer in London, I developed a sense of structure and proportion. My paintings may appear intuitive, but they are not accidental. There is always an internal framework. I am interested in the tension between control and release, between what is planned and what emerges unexpectedly.

For me, abstraction is not a style. It is the most honest way I know to process experience. During the pandemic, I moved fully into fine art. It allowed me to step away from function and focus on perception. Through abstraction, I try to hold both clarity and uncertainty at once, the factual and the emotional, the visible and the sensed. Painting becomes a space where these opposites can exist together.