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.

This work originates from the word barriers, selected from a list of restricted terms during the Trump administration. The restriction of this word resonated with the designer’s experience of language barriers as a Korean graphic designer studying abroad. Through slow analogue repetition using typewriting and ink rolling, positioned against the speed and efficiency often linked with Korean culture, the word shifts from readable language into a dense surface.

Created during the 2025 Seoul Street Art Festival, this work channels the city’s unique energy—its pulse, speed, food culture, and musical rhythm. Using his “Contemporary Hieroglyphs” style, the artist transforms Seoul’s movement and emotion into a universal visual code, expanding his ongoing exploration of how cities shape human expression.

This work presents a graphic announcing the opening of Vine Extra Color Euljiro, located on the second floor of In the Paper Euljiro by Doosung Paper. Through the visualization of the actual printer and fluorescent colors rendered as paint, the work conveys the characteristics of a print studio specialized in both standard and fluorescent printing within a single image. Lettering at the top reflects the context of Euljiro, Seoul, reinforcing a sense of place.

This poster is based on impressions from the song “The Name Of My Lover” 1987 by Lee Jae Min. Although more than 30 years have passed since its release, the track still conveys a cyberpunk like atmosphere, leaving a striking and unfamiliar impression beyond simple nostalgia.
The work develops from this perception, visually exploring the intersection of 1980s retro mood, cyberpunk imagination, and Korean sensibility. This poster is not an official release, but a reinterpretation of the music.

This work presents the poster key visual for the 34th Kyungpook National University Fashion Design Graduation Show.

Under the theme POV Point of View, the show features 31 student designers expressing their perspectives through fashion. Focusing on how multiple viewpoints come together to shape perception, the design adopts an ASCII art approach to visualize this concept. Fluorescent pink is used to emphasize points of focus and guide the viewer’s gaze.

This work is the poster for the second edition of 《Paper by Paper》, following the first exhibition held in 2025 at Inthepaper Euljiro in Seoul, South Korea. It was invited to the ‹2025 Gwangju Printing Culture Day› and exhibited at the Gwangju Printing Business Center.
The exhibition explores the possibilities of paper through various special stocks, employing diverse printing methods such as fluorescent toner and white ink to propose new visual outcomes for each material.

This work begins with the question what sustains the act of designing. It defines the answer as pure curiosity, an instinctive attraction without clear reason. Like a child drawing, design continues on its own, independent of external conditions. This idea is expressed as a single direction and visualized through road and signage graphics. It was presented in the poster exhibition 《Baton Touch》 in Busan, South Korea, in 2025.

Centered on self-objectification, the work uses Metal Pack Board, applying a matte coating to all areas except the mirrored graphic. This allows viewers to see their reflection within the exposed surface. The piece reflects everyday introspection and is composed of geometric forms that emphasize the contrasts of silver.
It was presented as part of the 《Paper by Paper》 exhibition at Inthepaper Euljiro in 2025.

This work begins with the deconstruction and reconstruction of the golden ratio 1:1.618. Based on the proportional structure formed by dividing a whole into two parts, quarter circles are repeatedly applied.

Building on this structure, images of quarter circles found in everyday life are captured on film and overlaid as graphics, forming a visual composition of the golden ratio.

Dubai Chewy Cookie
Dubai Chewy Cookie combines the 2024 trend of Dubai chocolate with a chewy cookie texture. It gained popularity from 2025 and remains high priced and widely favored as of 2026.
This work visualizes the novelty of this trend as a poster. The mix of Dubai chewy and cookie reflects a fusion of languages and cultures expressed through title typography. Its small size yet high price is reinterpreted as a refined dish, emphasized with fork and knife imagery.

백로 (Baekro) is the fifteenth of the twenty four seasonal divisions, referring to White Dew. It occurs at a solar longitude of 165 degrees, around September 7, when autumn deepens and dew forms on grass.

In this work, instead of dew, pomegranate, a seasonal fruit, is used to introduce a different color approach. The twenty four divisions are arranged in sequence, revealing the temporal position of Baekro.

This work presents the key visual design for the Youth Group 1 summer retreat of Deokso Church in Namyangju, South Korea. The theme “만변” stands for the phrase meaning one does not change without meeting, and the design reflects ideas of transformation, absorption, and the merging of two into one.
The tilted and rotating lettering conveys a sense of change in motion, while the graphic imagery visualizes the transformed state of a church member.