August 1-8, 2026
Elizabeth Murray Family Residency (EMAR) by Collarworks
Granville, NY
before I came to EMAR, I spent this year asking: how do we belong to one another in a lossless form?
lossless in audio means direct transmission from one to another without losing any part of the original source, but this past week I had the chance to experience a lossless form that holds the interruptions of our daily lives as artists and as caregivers: our children calling for our attention, the urgency of potty breaks during potty training, when the immediate first aid is a kiss, and mealtime negotiations.
working in the same barn Elizabeth Murray worked gave me a glimpse into what I thought impossible possible, parenthood and art flourishing together and alongside one another.
thank you to jeff you warren for the gidung table to ground me every time i returned to the barn to write, listen, hand-transcribe, and play on my toy vinyl record maker.
Granville, NY
before I came to EMAR, I spent this year asking: how do we belong to one another in a lossless form?
lossless in audio means direct transmission from one to another without losing any part of the original source, but this past week I had the chance to experience a lossless form that holds the interruptions of our daily lives as artists and as caregivers: our children calling for our attention, the urgency of potty breaks during potty training, when the immediate first aid is a kiss, and mealtime negotiations.
working in the same barn Elizabeth Murray worked gave me a glimpse into what I thought impossible possible, parenthood and art flourishing together and alongside one another.
thank you to jeff you warren for the gidung table to ground me every time i returned to the barn to write, listen, hand-transcribe, and play on my toy vinyl record maker.
July 3, 2026
A [New] American Dream:
CUT FRUIT/과일깍자!
Heurich House Museum
Washington, D.C.
Once again CUT FRUIT/과일깍자! came through in record-breaking heat with 90lbs of korean melon and asian pear at the Heurich House Museum ✨🔪🍉🍐
Alongside a new American dream we came remembering our own shapes of comfort and when all else fails what visible hope can look like. In what has undoubtedly become an endurance performance, CUT FRUIT/과일깍자! is proof I will always cut fruit for you.
Not a single piece of fruit came back home with me that night.
A [New] American Dream curated by Philippa Pham Hughes
Photos on film by Yung Chen
Hodori Tiger drawn by me, poster design by Emily Fussner
CUT FRUIT/과일깍자!
Heurich House Museum
Washington, D.C.
Once again CUT FRUIT/과일깍자! came through in record-breaking heat with 90lbs of korean melon and asian pear at the Heurich House Museum ✨🔪🍉🍐
Alongside a new American dream we came remembering our own shapes of comfort and when all else fails what visible hope can look like. In what has undoubtedly become an endurance performance, CUT FRUIT/과일깍자! is proof I will always cut fruit for you.
Not a single piece of fruit came back home with me that night.
A [New] American Dream curated by Philippa Pham Hughes
Photos on film by Yung Chen
Hodori Tiger drawn by me, poster design by Emily Fussner
Under Four Eyes
Torpedo Factory Art Center
Post-Graduate Residency
Alexandria, VA
What can the body hold that the archive cannot?
Under Four Eyes is a decentralized, embodied counter-archive project that gathers oral histories, field recordings, and rituals centered on intergenerational knowledge exchange.
Embodied that insists on movement and shape —gesture, ritual, and the struggle to remember as legible and valid modes of preservation.
The project takes its name from a German idiom—“unter vier augen”—which refers to private, intimate exchange between two people. Rooted in grassroots organizing methodologies, I’m interested in the archive that uses one-on-one conversation as both an artistic form and survival strategy.
And within this form I’ve been asking: What does it mean to pass down knowledge in hushed tones? How do we teach our communities to safeguard artists’ work during crises, outside institutional spaces—through neighbors, friends, and family?
During my time at the Torpedo Factory Post-Grad residency, the studio is transformed to mirror my umma’s tailor shop as I work through another form of soft mending, not with clothes but memory.
Torpedo Factory Art Center
Post-Graduate Residency
Alexandria, VA
What can the body hold that the archive cannot?
Under Four Eyes is a decentralized, embodied counter-archive project that gathers oral histories, field recordings, and rituals centered on intergenerational knowledge exchange.
Embodied that insists on movement and shape —gesture, ritual, and the struggle to remember as legible and valid modes of preservation.
The project takes its name from a German idiom—“unter vier augen”—which refers to private, intimate exchange between two people. Rooted in grassroots organizing methodologies, I’m interested in the archive that uses one-on-one conversation as both an artistic form and survival strategy.
And within this form I’ve been asking: What does it mean to pass down knowledge in hushed tones? How do we teach our communities to safeguard artists’ work during crises, outside institutional spaces—through neighbors, friends, and family?
During my time at the Torpedo Factory Post-Grad residency, the studio is transformed to mirror my umma’s tailor shop as I work through another form of soft mending, not with clothes but memory.
May 10, 2025
what is something you always wished I had asked and knew about you?
Goethe Institut x Thomas Mann House LA
USC Libraries, the USC Dornsife Center for Advanced Genocide Research
Washington, D.C.
I was invited by the Goethe Institut to present my floral sculpture series for an event called “An Appeal to Reason” inspired by the life and influence of Thomas Mann as a lens that rooted conversations around the current state of democracy, importance of freedom of expression, and the role of artistic intervention.
what is something you always wished I had asked and knew about you? is a floral sculpture series that confronts how we hold and carry memory in the diaspora through cocoji — a fading practice of floral arranging in Korea lost during a time of occupation and war.
The figures in the series includes the last remaining photographic archives of my family originally from the Gwangju region of Korea. A region known for the student-led demonstrations in their fight for democracy against the coup of Chun Doo-hwan in 1980.
The gidung table crafted by artist Jeffrey Yoo Warren is built around a hanok joint using the same woodworking technique that holds old Korean homes together.
The florals are arranged in hangari earthenware vessels traditionally used to ferment and preserve foods.
Photos provided by Thomas Mann House LA
Goethe Institut x Thomas Mann House LA
USC Libraries, the USC Dornsife Center for Advanced Genocide Research
Washington, D.C.
I was invited by the Goethe Institut to present my floral sculpture series for an event called “An Appeal to Reason” inspired by the life and influence of Thomas Mann as a lens that rooted conversations around the current state of democracy, importance of freedom of expression, and the role of artistic intervention.
what is something you always wished I had asked and knew about you? is a floral sculpture series that confronts how we hold and carry memory in the diaspora through cocoji — a fading practice of floral arranging in Korea lost during a time of occupation and war.
The figures in the series includes the last remaining photographic archives of my family originally from the Gwangju region of Korea. A region known for the student-led demonstrations in their fight for democracy against the coup of Chun Doo-hwan in 1980.
The gidung table crafted by artist Jeffrey Yoo Warren is built around a hanok joint using the same woodworking technique that holds old Korean homes together.
The florals are arranged in hangari earthenware vessels traditionally used to ferment and preserve foods.
Photos provided by Thomas Mann House LA
February 18-March 27, 2025
The Durational Performance of Cut Fruit
Museum of Contemporary Art Arlington
Innovation Studio Residency
National Landing, VA
During my residency at the Museum of Contemporary Art Arlington Innovation Studio, I explored what natural preservation of unnatural objects look like for archiving memories of matrescence and embodied care.
Reimagining the art of air drying persimmons (gotgam in Korea) through clay, inherited gestures, and NFC tags, I dried over 50lbs of cut persimmons alongside clay sculpted persimmons. Visitors were invited to participate by creating their own clay persimmons and embedding them with a memory they carry for someone they love—recorded as a voicemail.
When a smartphone is placed near a clay persimmon, it activates a link allowing visitors to hear the story held within.
Illustrations by Echo Yun Chen
Workshop photographs courtsey of MoCa Arlington (National Landing, VA) and KID Museum (Bethesda, MD)
Museum of Contemporary Art Arlington
Innovation Studio Residency
National Landing, VA
During my residency at the Museum of Contemporary Art Arlington Innovation Studio, I explored what natural preservation of unnatural objects look like for archiving memories of matrescence and embodied care.
Reimagining the art of air drying persimmons (gotgam in Korea) through clay, inherited gestures, and NFC tags, I dried over 50lbs of cut persimmons alongside clay sculpted persimmons. Visitors were invited to participate by creating their own clay persimmons and embedding them with a memory they carry for someone they love—recorded as a voicemail.
When a smartphone is placed near a clay persimmon, it activates a link allowing visitors to hear the story held within.
Illustrations by Echo Yun Chen
Workshop photographs courtsey of MoCa Arlington (National Landing, VA) and KID Museum (Bethesda, MD)