Poster design for Diff n Poster 2025, an exhibition happens next to the Daegu Independent Short Film Festival (DIFF). Each poster representing one of the 39 films screening and this poster had been designed for “World Premiere,” directed by Kim Seonbeen. Fractions out of screen tries to capture the distance in a relationship where one tries to draw closer but can never quite reach the other at the end.

A logo and ticket set were designed to celebrate the 50th anniversary of the Korean Film Archive. Tickets featuring the numerals 5 and 0 were created for the Korean Film Museum and Cinematheque KOFA, respectively. The design draws on visual motifs from movie projectors and calibration target images used in filmmaking.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

Beginner YouTuber Jo A-young’s vlog, which attempted to capture her daily life, became the scene itself where she denounced the reality she wanted to deny. The ‘bell’, which symbolizes subscription and notification settings, is represented by ‘SOS’, which notifies a situation in which one’s personal life is threatened. We used visual elements of the YouTube environment, such as the player playback bar, which resembles a life bar in a video game, to signal potential danger.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to tracking commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

Poster design for Hara Shin’s solo exhibition curated by Jin Lee at TINC (This Is Not a Church), Seoul. It shows one of her journeys of researching about the colonial hegemony that prevails in the cyclical rhythms and she tries to experiment with the acquisition of plurality through physical traversal. Bilingual system of languages tries to devour each other by interrupting but ended up the shape of intertwined graphic figure which draws the circulation of narratives.

We designed the Key Visual Design for the International Symposium Commemorating the 20th Anniversary of Nam June Paik’s Passing, Paik After Paik, 2026
The typeface Camera used in the English title was developed by Berlin-based Dinamo. It is based on a reinterpretation of the light trap, a structural feature originally used in 1960s–70s television screens to improve legibility. Here, it functions as a device that metaphorically reflects the materiality of the media Paik engaged with.

We designed the Key Visual Design for the International Symposium Commemorating the 20th Anniversary of Nam June Paik’s Passing, Paik After Paik, 2026
The typeface Camera used in the English title was developed by Berlin-based Dinamo. It is based on a reinterpretation of the light trap, a structural feature originally used in 1960s–70s television screens to improve legibility. Here, it functions as a device that metaphorically reflects the materiality of the media Paik engaged with

Part of the project by Caisou, it is a homage project to the Artist’s book by Yoshinori Henguchi, called “peels,” published by edition.nord, captures a series of the Rokkenya River in the Konohana Ward of Osaka in Japan. While passing by day by day, the shimmering surface of the river transforms into reflections of lost realities, once exists as a mundane substance. And it flows back to the collected memories and emotions dedicated back to the river.

We designed the Key Visual Design for the International Symposium Commemorating the 20th Anniversary of Nam June Paik’s Passing, Paik After Paik, 2026
The typeface Camera used in the English title was developed by Berlin-based Dinamo. It is based on a reinterpretation of the light trap, a structural feature originally used in 1960s–70s television screens to improve legibility. Here, it functions as a device that metaphorically reflects the materiality of the media Paik engaged with.

Poster was created for the group exhibition curated by Anne Meerphol at ICAT, Hamburg. A group exhibition features about the conflicting expectations of time that determine our everyday lives and also artistic practices. Themes upon labour and time, especially for young artists, were translated into a poster as a status of being warped into deep dark space of the emotional pressure to survive upon the structure of wage labour. This work has been collaborated with Yuting Chen.

Poster for the group exhibition curated by Nurgül Dursun at Frise Künstler*innenhaus Hamburg. The inspiration of the group exhibition begins with the line of a poem by Ariane Reines dedicated to questions on the ecological crisis and coexistence. Likewise, masses of information flowing in fibres and wires, the symbol of the snake transformed and reborn into the graphic language as uneven and mysterious but connected fluidly upon the surface.

Poster for the group exhibition curated by Nurgül Dursun at Frise Künstler*innenhaus Hamburg. The inspiration of the group exhibition begins with the line of a poem by Ariane Reines dedicated to questions on the ecological crisis and coexistence. Likewise, masses of information flowing in fibres and wires, the symbol of the snake transformed and reborn into the graphic language as uneven and mysterious but connected fluidly upon the surface.

This project operates as both a game and an archive that revisits Korean misogynistic internet meme, customizing them into new forms. It consists of three parts: a meme archive examining biased texts, a game site reconstructing them through Hangul’s typographic concept of ‘modules,’ and a social media account where game results are uploaded and shared, mirroring how memes originally spread. The work suggests that the language of prejudice can be reshaped at any moment by the viewer.

A few years ago, I ate tteokbokki so spicy it made me dizzy. The next day, I felt a burning sensation while pooping and wondered, “Can shit be spicy too?” That question sparked my fascination with poop. Oh, Shit! is a book of poop photographs inspired by discovering one that resembled Matisse’s Blue Nude. It turns something dirty into art through forms resembling masterpieces, emojis, animals, and other familiar figures. The project continues until the ultimate masterpiece appears.

At every important moment in Korean people life, a bountiful table is set — from a baby’s first birthday to weddings, sixtieth birthdays, and ancestral rites. Each table marks both a celebration and a quiet encouragement to move forward. Though life isn’t always as splendid as a feast, we still gather around tables, receiving warmth and blessings. This photo book brings together images of these vibrant Korean tables — capturing the culture of celebrating life’s most meaningful moments.

FLEA is a survival guide book compiled from ten years of Jihee’s experiences visiting flea markets every Sunday. In these chaotic yet vibrant spaces filled with the rough and the unexpected, she observed and documented the unwritten rules of survival — how to bargain with vendors, their unique personalities, and their distinct ways of displaying goods. The book is a guide for navigating and thriving in the world of flea markets.

Exhibition Design for 《Together, Differently》, Goam House, 2026

Together, Differently is an exhibition that explores and reinterprets the works of Lee Ungno from diverse perspectives. Using simple geometric lines and colors, it seeks to reveal the relationship between “togetherness” and “difference.”

e-book cover design for 《Incomplete Collaboration》 by Sunyoung Oh, publishr: SCAP Press, 2026

This book explores the meaning of collaboration within the gaps between self and other, art and non-art, and institution and non-institution. The Korean word “협업(collaboration)”, with its unstable, hybrid, and misaligned letterforms, exists between legibility and illegibility, revealing the concept of “incomplete collaboration.”

This illustration was exhibited at OOP 2024 in Seongsu-dong, Seoul, as part of a project creating landmarks within a fictional space. Inspired by the Korean folk painting Hojakdo (Tiger and Magpie), it reinterprets traditional imagery through a contemporary lens. Within a broken white porcelain form, Irworobongdo—a symbolic Joseon-era royal painting—appears alongside dolphins and a sunset, forming a surreal island. The work blends Korean tradition, modern elements, and imagination.

This graphic artwork was created by graphic designer Minji Kim in collaboration with Adidas, inspired by Seoul, Korea. Launched in October 2025 at Adidas MFY stores, it depicts a cat playing on a turntable shaped like an Adidas shoebox. The design features a traditional Korean “cloud arabesque” motif, reinterpreted with a modern touch. Musical elements and expressive typography capture the vibrant spirit of Seoul and its K-pop culture.