“Chusa, Revisited” is an exhibition themed around the legendary Korean calligrapher Chusa, held at the Silhak Museum in 2025. AABB directed both the exhibition’s curation and design. The poster graphic merges six guest artists’ unique renditions of the exhibition title into a single image. By blending styles from traditional calligraphy to geometric lettering, the design intuitively reveals tradition as “the past living within the present.”

No research question, no system — just every pattern, shape, and color at once. Concentric eyes stare out from cylinders and circles; isometric cubes from earlier studies resurface, now buried under zigzags, bubbles, and neon grids. Each quadrant threatens to become its own thing before the whole pulls it back into a single, relentless surface. Sometimes making something is reason enough.

“Leaning On, Held By, Hanging From, Swayed By,” is an artwork that compiles four essays on the theme of writing into a book. Bound with bolts and nuts, each copy unfolds into a massive, uniquely shaped structure, transforming into a striking exhibition piece. This work debuted at the 2025 “Senses of Writing” exhibition at the National Hangeul Museum.

This project is a zine documenting the process of creating a T-shirt graphic derived from the movement of a door. It establishes a conceptual parallel between turning a page and opening a door, linking the two gestures as related forms of transition and access.

ふれるたび、音がきえる。
ふれるたび、静けさがふえる。

This design employs a vibrant, high-energy color palette to revitalize a classic venue. The graphics reinterpret the theater’s perspective into a motif of light, seamlessly weaving it into the typography to capture the essence of the space.

Exploring the same isometric framework as the first study, this time with soft gradient washes applied across each face of the structure. Where the first study used flat color to test how depth is read, here the surfaces bleed into one another — pastel pinks, blues, and greens pooling at the edges, dissolving the hard geometry from within. The structure holds its shape, but the color refuses to follow the rules.

Titled Fake Zebra, this work draws on Tijuana’s tourist-made zebras to examine hybrid cultures and inter-Korean stereotypes shaped by media. Using Our Nation First propaganda and Radio Free Asia scripts, it juxtaposes contrasting fantasies. Layered, simplified images reconstruct a “fake zebra,” visualizing how constructed perceptions produce imagined realities.

This Christmas postcard celebrates 2025, the Year of the Snake. Inspired by the boa constrictor that swallowed an elephant in The Little Prince, it depicts a snake that has swallowed a whole Christmas tree. Through this witty imagery, I wanted to convey a heartfelt wish for an abundant and happy holiday with loved ones, transforming a literary classic into a playful message of seasonal joy.

The task was complex and fascinating – create modern and cool identity for cafe, while at the same time keeping the Korean heritage element. So, I immersed myself in Korean culture and its vibe. Much research and many conversation later, we found the core graphic identity of «Breath» – Jogakbo* as main principle for the brand system.Jogakbo becomes the patchwork for typography, logo cloud pattern and colour palette.

Exploring the mechanics of isometric perspective through a single recursive structure, repeated and recolored across four variations. The same geometric form — part architectural, part abstract — tiles itself into fractal-like density, each iteration smaller than the last. The four color schemes are not decoration but documentation: the same spatial logic examined under different visual conditions, asking how color and contrast shape the way depth is read.”

“CC” is a publishing project by AABB that documents the activities of contemporary visual artists. Each issue features a unique design; “CC2” displays only the publisher’s name on its cover. Readers complete the book by applying provided stickers for the title, author, and chapter introductions. Through this hands-on classifying and labeling process, the audience actively participates in the documentation.

exploring the real lives of young artists living in a rapidly changing era. Rather than focusing only on finished artworks, the project looks closely at the hidden struggles, emotions, and attitudes that sustain artistic practice. Through interviews, photography, and editorial design, TRUE records the voices of young artists in Seoul and transforms their stories into an independent magazine. By revealing the social realities and personal journeys behind creation, TRUE PROJECT proposes a sincere

This poster announces TILE RADIO’s first party of 2026. Just as an ecosystem cannot thrive without bees, the local music scene relies on fresh talent. Meet the emerging local DJs in full swarm, ready to take flight for the very first time.

This three-poster series explores Bangi-dong, a neighborhood in Seoul, through its layered history. Rooted in the traces of the ancient Baekje period, the area carries the urban transformations shaped by the 1988 Olympic Games. At night, scenes of nightlife emerge upon the remnants of past festivities and prosperity, revealing another version of Bangi-dong shaped by overlapping temporal layers.

“The Sea of Tranquility”(2025) is a collection of photographs taken in 2022 in the redevelopment areas of Incheon. The images were shot on 4×5 large–format black–and–white film, and the developed negatives were painted with black to create the sky. Every month, ten of these photographs were sent to NASA—information that is entirely meaningless, requested by no one, and read by no one.

“Babel x Babel” is an artwork themed around the climate crisis, consisting of interactive web art and a video. The thumbnail image is a scene from the video capturing the moment the Tower of Babel rises in the heart of Seoul. Premiering at the “Bandi Walk” exhibition at the National Asian Culture Center in 2022, it has since been exhibited at the National Assembly of South Korea, South Africa, and the UAE. Learn more at https://www.babelxbabel.com/

This card was created by extracting the shapes of the numbers 2, 0, 2, and 5 from everyday photographs taken throughout 2024, and recombining them to form the year 2025.

《Nopo Table》 is an archival art book that explores image-based experiments derived from photographs of dishes at long-standing local eateries (Nopo) visited between 2022 and 2025. Rather than merely presenting food as “appetizing,” the project focuses on visually reconstructing the sensory atmosphere of each space.

The task was complex and fascinating – create modern and cool identity for cafe, while at the same time keeping the Korean heritage element. So, I immersed myself in Korean culture and its vibe. Much research and many conversation later, we found the core graphic identity of «Breath» – Jogakbo* as main principle for the brand system. Jogakbo becomes the patchwork for typography, logo cloud pattern and colour palette.

This poster was created for the “Artificial Tears” exhibition at Museum Head. It explores the contrast between images that are ephemeral and disappear after the exhibition, and those that leave lasting traces over time, articulated through graphic contrast and lyrical typography.

A new sense of balance that preserves classical structures while intentionally breaking the mold, a New Classic visual that allows experimentation and imperfection to coexist within sophisticated formal beauty.
Kyma is the music production studio in Seoul, Korea.
“A Controlled System with Emotional Noise”

A landscape woven from tiny, precious dots. Using oil pastel pointillism, I visualized the gathering of local farmers, creators, and visitors. Every hand-pressed dot functions as an organic building block, forming a warm, scalable identity that bridges the community of Yeongwol.

Selected for Dadakdadak Market: Baeksanghoe (百象會), this poster responds to the theme “Selling What Doesn’t Exist.” By layering past and present shop names from Suwon Nammun Market, it constructs a new typographic landscape that reflects the market’s history and adaptability, symbolically presenting its intangible cultural value as a form of exchange.