Bluehour (2025) is a three-channel video installation that uses the Jeju Island legend of Seolmundae Halmang as a metaphor to draw a blueprint in which the structure of desire between gods and humans in mythic narratives is placed alongside the contemporary relationship between humans and machines. The video views the island’s rivers as body and flesh, evoking an expanded body that extends through bridges and tunnels. Bluehour weaves myth, the body, and technology within the twilight between anxiety and anticipation, exploring the thresholds and transformations demanded by our present time.

파란시간(2025)은 3채널 영상 설치로 제주도의 설문대 할망 전설을 메타포로 신화의 서사에 등장하는 신과 인간의 욕망의 구조에서 오늘날의 인간과 기계의 관계를 나란히 놓고 청사진을 그린다. 영상은 섬의 하천을 몸,살로 바라보며, 다리와 터널을 통해 확장되는 몸을 상기시킨다. 파란시간은 불안과 기대 사이의 황혼 속에서 신화, 신체, 기술을 엮으며 현재의 시대가 요구하는 문턱과 변형에 대해 탐구한다.

The video explores migration from two different perspectives. Migration provides a new environment for migrants but also creates a void of separation from family and friends back home. Using this tension as a starting point, we collected stories from migrants in Berlin and Jeju, as well as text messages and letters from family and friends back home. Together with writer Jeff Wood, we reorganized and reworked these materials into a text that captures the inextricable union of leaving and staying.
The video Waves, Everywhere capitalizes on the German media’s use of the word “wave” to intimidate the public with terms like “migrant tsunami” and “migrant wave,” creating a sense of threat. It suggests that the flow of migration is a natural part of human existence by comparing it to the movement and circulation of waves, which have always been everywhere.