A four-week workshop learning code in Korean and publishing a 3D library on the web. KRthree.js, a Korean-language layer over three.js, lets the logic of a 3D space be followed in one's own language rather than through an English API memorised first. It ran over four evenings in July–August 2026 at Hup Geumho, a bookshop and study room in Seoul, with seven participants from design, publishing and curating, most of whom wrote their first line of JavaScript here: reading a 3D scene in Korean, photographing and scanning the books and objects they had made or collected, assembling a collection in the browser, and giving each project its own web address. Slides carried Korean above and English below. Each finished shelf was published at a real address on Neocities, so the digital library and the physical one could be read side by side in the same room.

A two-session offline making workshop on operating the web without a keyboard or mouse. The two devices are so familiar that it is easy to forget they are interfaces someone chose. Code Club × Yeongwon, Seoul, July–August 2026. The first session looked at the history of the keyboard and mouse and at examples of sensors and input devices, and each participant worked out a tool to make; in the second they built the tools from sensors, sound, cameras, foot pads and low-tech materials, presented them, and closed with a small award ceremony — for fun, for technique, for critique. The goal was not a perfect machine but to look again at habits of use we take for granted, through tools that are slow, inconvenient and prone to misbehave. Eight tools came out: Instagram scrolled with a throttle, a cursor that moves only when several people agree on a direction, Pinterest browsed by stepping and jumping on a foot pad.

This exhibition begins from the recurring absence of records that have surfaced in recent events in Korean society, as well as the sense of physical and emotional isolation experienced during a period of living in the Netherlands. The exhibition reads the technical error message “404 Not Found” as a metaphor for social absence, exploring what kinds of sensations and languages emerge in the place where something that should exist has disappeared. The participating artists visualize erased traces, lost memories, and gaps in incomplete data through various media and digital narratives, revealing how information and memory are reconstructed. The exhibition approaches the void left by absence not as a simple lack, but as a possibility for new relations and interpretations.

The second edition of Temporary Shared Hub was a reading room and café that reread the familiar language of "self-care" and "career management" through books, held at Hup over two days in July 2025. The project began with a single manuscript others had called hard to publish, and books from 6699 Press and Yunji Gong were placed together on one shelf. Visitors left a book they cared about and took one that someone else had left behind. Jaeyeon Kim made three drinks from the context of the books and the space, adding another rhythm to the time spent reading.

A web-development collaboration for «Pyeonsan», type designer Kim Taeryong’s solo exhibition at XXpress, Seoul, in March 2025. To carry onto the screen the typographic ideas worked out on paper and wall, the exhibition’s web component treats letters not as decoration but as elements a visitor can manipulate directly.

Visitors type with the Hangul typeface Pyeonsan, placing its Beta A and Beta B side by side, switching between horizontal and vertical writing, and adjusting size, letter-spacing and leading. A glyph view lets each character be pulled out and looked at on its own. The screens stood on a desk inside the gallery and at the window facing the street. The web works not as a record attached to the exhibition but as another room in which the typeface can be handled directly.

Take A Seat is an installation presented within ONCE UPON A HOUSE at De Fabriek, the Netherlands, on March 14, 2025. A letter, a report, a report form, printed instructions, a sound script, and objects in the exhibition space make up the procedure by which personal experience is received and classified inside institutional language.

Water Council of Relationality (WCoR) is a collaborative research program that approaches water not as a simple resource or technical component, but as an active agent operating within environmental, social, and political relations. The project critically revisits the historical perspective of Dutch water councils, which have traditionally treated water as an object of management and control, and instead considers how contemporary water issues have expanded beyond local concerns into complex global conditions.

From September to December 2024, fifty-five students from the Social Design MA program at Design Academy Eindhoven and the Institute of Applied Arts at National Yang Ming Chiao Tung University in Taiwan took part as a fictional council, exploring our relationship with water through multiple lenses—politics, infrastructure, memory, media, sexuality, and more-than-human worlds.

She joined artist Shin Sangah’s research as the development collaborator and carried it into an interactive web piece. From visual signifiers collected from contemporary mascots, she built the cluster rendering in which images gather and scatter again according to their similarities and hybridity, along with a gesture-based navigation that shifts the fictional mascot ecosystem’s center with the movement of a hand.

As a visitor moves across the screen, the images pull toward and push away from one another and form a new center. In the exhibition a wall-mounted touchscreen let visitors move this ecosystem themselves, and the same images continued onto printed matter and a light table. The web here is less a finished taxonomy than a map redrawn each time someone touches it.

At the invitation of the Busan Museum of Contemporary Art, she designed the branding and exhibition design system together with Chiho Rang Factory. The project began by looking at both the environment of Eulsukdo, where the museum stands, and the questions of production and consumption raised by the exhibition itself.