Beater Studio designed Paul Kim’s 10th anniversary album as a parcel sent to fans. Based on an actual shipping box structure, recipient information and postal elements were translated into graphics to create the experience of the album being delivered like a letter.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster fragments and disperses images of trees into irregular shapes, recomposing different perspectives within a single frame. The works reveal distinct sensibilities through processes of observation and accumulation.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster overlays grids in different directions with layers of RGB colors, forming a structure where space, object, and gaze intersect. The works explore visual perception through distinct approaches.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster foregrounds text as the primary visual element, constructing relational structures through language. The transition from “house” to “home” evokes layers of memory and relationships embedded in space.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster divides organic shapes into compartments, each containing different scenes, assembling fragmented images into a single composition. The works intersect and overlap, forming a continuous visual flow.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

This exhibition explores the theme of “tangible absence,” investigating the sensations of presence and contact. The poster visualizes the boundary between appearance and disappearance by manipulating focus and blur in typography.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster slices and rearranges images vertically, layering different scenes within a single frame. Collected images of plants extend beyond fragmentary impressions, unfolding into new scenes and narratives.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.
The poster visualizes the process of stitching through dotted and continuous lines, connecting disparate elements into a single structure. Works made from recycled PET bottles invite a reconsideration of everyday objects and patterns of consumption.

Inspired by vintage stationery collected from long-standing shops, Jiae Kim captures the lingering memories of the late 1990s and early 2000s. Through the use of CRT TV frames and retro cartoon styles, her poster design mimics the experience of flipping through old television channels. By integrating fictional programs with nostalgic elements such as vintage advertisements and DVD warnings, She reconstructs a specific cultural era into a vibrant, contemporary visual language.

This poster promotes the graduation exhibition “Still a Jjang-dol, for now.” Stones roll, collide, and wear down, eventually becoming sand. This work captures that very metaphor. We compare graduating students—soon to enter society—to these “Jjang-dol” (stones). Each unique stone represents an individual student, while the dominant blue hues symbolize the inevitable yet profound journey toward the vast ocean of society.

Dingbat fonts often place images in letters irregularly. Smile Dingbat is a dingbat font structured according to the compositional rules of Hangul. It uses consonants as shapes and vowels as inclinations, thereby expressing the syllable-initial consonant, medial vowel, and syllable-final consonant of each character.

This is a relaunch of the quarterly magazine *Archive Prism*. Notably, the first issue also serves as a book that selects the 100 best Korean films every 10 years. The cover features the titles of the selected films written in text. This element represents the “archive” in *Archive Prism*, while the background color symbolizes the “prism.” The background color changes with each issue.

This book marks the 30th anniversary of director Park Chan-wook’s debut, framing his lonely yet dazzling career through hardboiled detective fiction. Its dual-layer cover uses black faux leather, like a pistol holster, wrapping around the back to create two spines. The right spine is embossed with the English titles of his 22 films; the exposed left spine quotes his favorite line, crossed by the original binding line: “Advance payments are not allowed.”

Made while preparing for the workshop at Pizza Saver Office. The workshop was based on a personal work where a SVG vector doodle data is transformed using Discrete Fourier Transform, and visualized with techniques that draws shapes with pixels using Fragment Shader code.

〈Meta-Whitespace〉 begins from the flow of consciousness and asks whether blankness is ever truly blank. Using whitespace characters, CSS padding, blur and speech recognition, it creates spaces that are not spaces, like the mind itself. Letters become blanks at random, and spoken text dissolves into whitespace. Borrowing the absurd speech of the Doeokshini, a race in Lee Youngdo’s epic The Bird That Drinks Tears, the work imagines language before meaning and turns the reader into a being of gaps.

〈A Story Converging to Zero〉 explores summarization as translation. Inspired by Alvin Lucier’s I Am Sitting in a Room, it treats meaning as something altered through repetition, compression, and loss. Using The Blue Cross—a detective story whose linear plot builds suspense through one character’s perspective and moves toward solving a case—the webpage presents 20 horizontal paragraphs that readers compress from sentences to words to a single word, gradually converging toward zero.

How long does a work last? Inspired by Foundation, Q.E.D.’s “Jacob’s Ladder,” and three versions of one long name—the rakugo original Jugemu (寿限無), its Korean adaptation Suhanmu, and a line from Hideaki Sorachi’s manga Gin Tama—this web work links language, time, and mortality. As viewers speak the name aloud, the corresponding letters disappear, and when the text is fully erased, the timer stops. At that moment, the work’s lifespan is determined. Two new versions are then randomly revived.

〈Unseen〉 reinterprets the Japanese drama Shiman through punctuation, code syntax, and the perspective of a blind masseur. Based on research into both the drama and its rakugo source, the work reduces the story to a single sentence structured by redefined marks such as (), {}, [], and quotation marks. Though vividly red, these marks may remain unread, becoming a form of the unseen: visible signs whose meaning escapes perception.

“It’s Totally Okay to Do Nothing” explores uncertainty through text. Inspired by Samuel Beckett’s Quad and quantum mechanics, it begins from the idea that even what we see is unstable. In the installation, the lyrics from Jang Ki-ha’s song are written repeatedly, while viewers type lyrics they cannot see and the projected text changes at random. The work turns writing into an event of slippage, where audience intervention reveals the gap between intention, perception, and certainty.

A work for the Korean Society of Typography’s Exhibition. “The Typesetter’s Bridge” stirs a strange kind of curiosity. Searching for a way to quench that curiosity, I decided to wander into an offbeat imagination. I wrote “Vague Thoughts”, a sequel to “The Typesetter’s Bridge”, and set it in type, presenting it in the form of a poster. I hope those who encounter this poster will linger over “The Typesetter’s Bridge” and “Vague Thoughts” and try their own hand at unraveling the mystery.

A magazine editor’s seven-year journey of renovating a 50-year-old apartment in Seoul. He explores what it means to live “properly” within limited resources.
This nonfiction work, featuring 12 appendices like architect dialogues and material guides, gained fame on Elle and “No Filter TV,” and was exhibited at the Gwangju Design Biennale. It serves as a profound reflection on 21st-century Seoul housing, proving that designing one’s space is ultimately an act of reconstructing oneself.

The sound of 〈Trajectories: bandpass〉 translates the sonic qualities shaped and varied through form, using the album 《Slough and Trajectory: spiral horizontaly world》 and the performance 《Trajectories》 as source. Latex (which covered the floor of the performance hall) was woven and covered over a steel frame, and speakers were placed inside. The work is to connect the sculpture as a human body, the memory of the performance, and the spatial sense of sound.

*Collaboration with Yongbin Lee

To mark the 140th anniversary of the establishment of diplomatic relations between France and South Korea — a major milestone celebrating a friendship that began on 4 June 1886 — the French artists’ collective TELESCOPIQUE® has produced a special series of 625 digital prints.