A poster created for International Mountain Day.
Beginning with a conventional celebration of mountains, it shifts to depict their suffering under environmental destruction, emphasizing conservation and sustainability. The moving mountain is linguistically categorized (dynamic, animate, passive), deconstructed through shifting perspectives, and reassembled into distinct states, then connected through their peaks to suggest movement.
A poster created for International Mountain Day.
Beginning with a conventional celebration of mountains, it shifts to depict their suffering under environmental destruction, emphasizing conservation and sustainability. The moving mountain is linguistically categorized (dynamic, animate, passive), deconstructed through shifting perspectives, and reassembled into distinct states, then connected through their peaks to suggest movement.
Poster for the film Mistletoe, directed by Hyeonjee Hwang, designed as part of the JEONJU IFF 100 Films 100 Posters.
*Awarded Best Book Design in Korea 2024*
Ashes tells story of ashy volcanic area. I felt like being in the strange planet walking the weird volcanic field. There, I collected things from the ashes. In this ashy planet, what did I tried to find so desperately? I put them in this book, made of ashy paper, shining like ashes.
*Awarded Best Book Design in Korea 2026* Glass Eye is a photo book that captures the fragile, easily broken presence of nameless beings—through the unblinking gaze of a glass eye. Metallic gold ink glimmers throughout the pages, echoing the afterimage of hollow eyes—eyes like glass—that quietly seep through the book.
Mugg: Just Draw Anything! is the first exhibition of the drawing collective Mugg and presents their initial approach to drawing. Since the earliest human drawings, other media inevitably followed, yet among all images, drawing remains the most vital. The motto “Just Draw Anything” emphasizes a steady and persistent practice of this fundamental act.
Book design for Dream of Being You(네가 되는 꿈), a picture book by Yoojin Seo, published by BoisForêt.
Book design for I Am Kicking(나는 발차기 중), a picture book by Hyewon Lee, published by BoisForêt.
Eoseoonira is a quiet record of a woman’s twenties, shaped by a sensitivity often spoken of as that of a shaman-to-be. Moving between intuition, ritual, and reality, she struggles to understand what it means to carry something she did not choose.
Book design for Passing Scenes Become Pictures of the Heart(스쳐간 풍경들은 마음속 그림으로), a picture book by Jung-in Choi, published by BoisForêt.
Reading has long maintained a relatively one-directional structure. Authors compose texts within a fixed framework of reading, and readers follow them in a consistent, habitual way. 〈읽기 reading 讀〉 is a book that experiments with breaking away from this rigid structure by visualizing the content of text as the “form of reading” itself. Through short passages that remain comfortably readable, it seeks to reawaken an awareness of the act of reading itself.
Poster for the “100 Films 100 Posters” exhibition at the Jeonju International Film Festival.
Resembling a snake in both form and rhythm, “르르” suggests a movement that is continuous, fragile, and unceasing—slow yet persistent.
Directed by KIM Seojin, KIM Jihee
Hosted by
Jeonju International Film Festival
Organized by
April Snow Press
Curated by
Eunji Kim
Poster design based on the phrase “Yes, and No,” conceived as a response to questions around peace.
The background incorporates a patterned photograph of the Mongolian steppe and sky.
Influenced by a recent interview with Jared Diamond*.
Published by Urban Books
Key visual design for the Kids Triennale.
The lively rhythm of the title typography reflects the energetic movement of children.
Hosted and organized by
Gangwon Province, Gangwon Cultural Foundation, Pyeongchang County
Graphic design for an exhibition.
Curators
Ahreum Woo, Kyounghee Lee
Coordinator
Chaeri Kim
Artists
Suso, Asako Shiroki, Seongyeon Jo, Haeri Choi, Jeongeun Heo
Factory2
Graphic design for an exhibition.
Curated by Heeseung Choi
Artists
Keep Jiyoung, Sejin Park, Joo Yeon Park, Nakhee Sung, Kai Oh, Seung Ae Lee, Hyori Cho
DOOSAN Gallery
A typographic project based on the dual meaning of the Korean word “che,” referring both to a typeface and the notion of “pretending to be proper.”
Following the conventions of “correct” handwriting, the letterforms shift and adapt in response to a destabilized grid system, reflecting the tension between order and deviation.
Package and symbol design for a collaboration between Lawrence Weiner and PACE Gallery Korea.
The Design History Society of Korea (DHSK) prioritizes the cultural and philosophical significance of design over industrial utility. Founded six years ago, DHSK explores design’s social role within the Korean context. Its strength is diversity, uniting designers and researchers from aesthetics to architecture. Under the vision of “Expansion and Change,” the Society will broaden its academic themes and perspectives over the next two years.
Graphic design for an exhibition.
Curators
Juyeon Kwon, Yunju Chang
Hosted by
The Korea Foundation, ASEAN Culture House
Artists
Hyeeun Kwak, Small Studio SEMI, Jehyun Shin, Jinkyung Lee, Keywhowekey
Poster design for the solo exhibition of Haeeun Hong.
Leaflet design for an exhibition.
Curated by Hyejung Jang
Artists
SeaJung Kwon, Chorong An, Yi Ji Jeong, Sue Yon Hwang
WESS
〈Корейцы, Корё сарам〉 is a photographic exhibition that explores the Korean diaspora known as Корейцы—ethnic Koreans who were displaced to Central Asia during the Soviet era. Through fragmented self-portraits, the work reflects the tension of identity and the disorientation of diaspora, visualizing an internal state shaped by displacement and historical rupture.
A poster for the film The Real Man (1996), designed for the Jeonju International Film Festival event 100 Films 100 Posters. The poster incorporates credits in which the conventional role titles of the film’s participants, what they are called, are replaced with phrases drawn from the film’s dialogue.