Thanks for coming by! I am a London-based artist and researcher with a PhD in human geography. I am a woman, mother and migrant of Korean heritage, coming from a working-class background, and these lived experience are closely related to my practice. 

As a feminist geographer, my practice took off with a series of works that involved female factory workers both in a rural area and urban industrial complex, provoking conversations around contemporary value system of human labour. My first exhibition Nameless Name (duo show with Sungmee Bae) interrogated a social inquiry – Why factory workers are never given a business card. In a similar vein, between 2011 and 2014, I worked on the research-based public art programme Guro Gongdan 19662013 in which explores the legacy of the Guro industrial complex in Seoul, Korea. I produced a series of performative walking trails under three themes – migration, young factory workers’ culture, and the labour movement. The walks engaged the audience with the instructions and participatory installations along the routes. This project also culminated in my first solo exhibition Bacchus Economics. It looked into the political-economic subjectivity of young female factory workers in 1970s’ Korea under the dictatorship that underpinned institutionalised labour abuse for accelerating export.  

Since settling in London in 2014, my interest in working-class positionality has expanded to the neo-colonial practices through the lens of migrant workers’ experiences and climate justice. The camouflage pattern is one of the critical media I often play around due to its strong connotation with militarism and nonchalant reduction of nature, two crucial wings of the brutal operation of global capitalism. A series of embroidery and textile-based works Un-Camouflage, and further embodied gestures Neo Calligraphy and Green Spell, belong to this visual manifestation. My ongoing interest and development in participatory performance as an intimate protest have also grown out of this. 

Emperor’s Jade Rabbit narrates post-colonial capitalism through the testimony of migrant cleaners in Britain. The performance script that is played by two parts weaves the mythology of the immortal Moon Rabbit, into the recounts of female migrant cleaners and western superstitions/witchcraft around a broom. Unapologetic Coughing is a response to the spike of anti-Asian racism, written in the period of Covid-19 outbreak from China. Instructing the audience to express their emotional and psychological discomfort by psychogenic cough, this performance depicts the violence of nationalism, abuse of precarious workers and environmental damage as the real cause of a new virus outbreak. And yet it creates an intimate space for collective healing and solidarity. Durational performance Not This Future commemorates the tragic Essex 39 incident where thirty-nine Vietnamese were found dead in the back of a lorry abandoned by a people smuggler. Facilitating pseudo shamanic ritual as a political device, Not This Future stages transnational solidarity and care by comprising 39 grief offerings from all over the world and questioning the meaning of border in neo-colonial politics.  

I take commissions, mainly working with/for/about sociocultural margins and children & young people. Previous projects were commissioned by various institutions such as Arts Catalyst, Barbican Centre, Rich Mix, Milton Keynes Art Centre, MK Islamic Arts Heritage and Culture, and Heart of Glass. Currently, I am the selected artist for the Constellations 2020/21 supported by UP Projects and Flat Time House, and the associate artist of Asia Art Activism at Raven Row.