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 experiences are 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 the extractive value system of human labour. My first exhibition Nameless Name interrogated a social inquiry – Why factory workers are never given a business card compared to the office workers. Between 2011 and 2014, I worked on the research-based public art project Guro Gongdan 19662013 exploring the legacy of the Guro industrial complex in Seoul, Korea through three themes – migration, young factory workers’ culture, and the labour movement. 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 government that underpinned institutionalised labour abuse for accelerating export.  

Since settling in London in 2014, my working-class positionality has expanded to the neo-colonial practices through the lens of migrant workers’ experiences and climate justice. My ongoing exploration in performance as an intimate protest and solidarity practice has also grown out of this. Emperor’s Jade Rabbit narrates post-colonial capitalism through the recounts of migrant cleaners in Britain, interwoven with the immortal Moon Rabbit mythology and western superstitions/witchcraft around a broom. Unapologetic Coughing is a response of urgency to the spike of anti-Asian racism, written in times of the 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 inviting 39 grief offerings from all over the world and questioning the meaning of border within neo-colonial politics. Expanding on Not This Future, I am currently working on a project about ecological grief In Every Bite of the Emperor, centred around the sites of ex-mining fields and deforestation.   

Since 2019, I have actively taken part in collaborative practices and collectivising. As a diaspora artist, I came to reckon that collaboration is the most ethical and possible way to practise and survive in the art sector, a highly competitive and dominantly white middle/upper-class space. I have also discovered so much joy and power in working with people who see me and get me. I am proudly an associate of Asia-Art-Activism, a half of Breakwater, a third of Have You Eaten Yet? Collective, and the co-founder of Decolonising Botany Working Group.  

I take commissions, mainly working with/for/about sociocultural margins and children & young people. I am interested in how my socially engaged practices can imagine and build social infrastructure for care, collective healing and alternative pedagogy. Becoming Forest project for ESEA diaspora healing, funded by Arts Council England, is one of the examples. Previous projects were commissioned or presented by Arts Catalyst, Barbican Centre, FACT Liverpool, Liverpool Biennial, Milton Keynes Art Centre, MK Islamic Arts Heritage and Culture, Heart of Glass, Rich Mix and Korea Ministry of Culture.