Nomadic Play(2024~)

Walking in Cosmos, Walking with Cosmos

Flute Party(2025)

-It requires four people to kneel on the ground, gather together, and play the flute while moving around
-Toy flute, movable plant stand, shuttlecock, hair band, wool yarn.
-280mm*280mm*280mm

Walking with the Earth (2025)

Discarded globe, crochet yarn, wheels, beads
300mm*300mm*450mm

If my origin lies in the whole earth, or even the universe, then maybe I have never truly left home.Walking on the arth and walking with the Earth.

My Little Donkey 303(2025)

Folding clothes drying rack, wrapping paper, cable tie, wig,
thread weaving, sesaonal flowers, dishcloth, rattle, cat teaser etc.
1250mm*450mm*800mm(Variable Dimensions)

Universe Exploration Balance Training Hat(2025)

Fruit basket, bicycle bell, badminton shuttlecock, soccer equipment, cable ties, balance toys, balloons, yarn, stickers, Christmas decorations.etc.
200mm*200mm*400mm
A piece created during a short-term workshop. In this activity, I went to Daiso with the participants to select items that attracted them, and then re-created the objects based on their stories about the objects.

Kill Me with Tenderness(2025)

Toy gun, crocheted yarn, stickers, Christmas decorations.
165mm*225mm
A piece created during a short-term workshop. In this activity, I went to Daiso with the participants to select items that attracted them, and then re-created the objects based on their stories about the objects.

Self-weaving(2025)

-Clothes hangers, plastic tube toys, wheels, yarn weaving, wigs, shuttlecocks, screws, blanket etc.-1700mm*480mm*20mm

An Introduction to the Archaeology of Love(2026)

Foam board, wheels, slime toys, beads, doorknobs, rubber gloves, lace, screws, fur, etc.
Movable
Do you ever envy the dinosaurs,
long since extinct?
Someone said the moon they looked upon
was larger,
and brighter
than the one we see today.

Call Me on Saturday Night(2026)

Small easel, bubble wrap, screws, hair accessories, doorknob, ashuttlecock, lace, fur, yarn.
Variable Dimensions

Love Bugs Hat(2026)
I bite you, you bite me, the love bites us.

Bug catcher, yarn crochet, cable ties, beads, rabbit toy, fabric, etc.
Can be used by two people together, or be closed for easy carrying
250mm*250mm*250mm

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The Only Way to Live Long Is to Have Fun (2026)

Medicinal liquor jar, toys, clock, tennis ball, dish scrubber, jar
650mm*150mm*150mm

Love Jump(2026)
If you feel sad, I will take you and jump together toward the sky, escaping the Earth and traveling to the tribes of the Neptunians. With a small velvet pouch, beneath a rain of diamonds, I will catch just one beautiful diamond for you—without greed. Holding your hand, making a ring that matches your discerning yet elegant taste. Then, we will never go back.

Jump rope, crochet work, beading, bells, cable ties
270 cm

Homesick(2026)

Medicinal liquor jar, mini globe, rental contracts for the houses I lived during 8 years in Korea, toy ball

700mm*150mm*150mm
One of the works completed in August 2026, during the week-long project Moving Camp, just before leaving Seoul after eight years of studying in Korea.

The Illnesses of Seoul（2026）
Medicine taken while I was sick in Seoul, leftover beads, and a transparent plastic box.
Made during Moving Camp Project

Tears and Tropical Fish（2026）

One morning, I woke up to find my eyes suddenly filled with tropical fish. I couldn’t help but cry, while the tropical fish, made especially calm and content by the moisture, simply drifted along.

Goggle case, cheap tropical fish toys, slime toy, headshot from when I was 7

August 2026

Shot with a Konica KD500Z

Untitled(2026)
-Bath basket, cable ties, crocodile jelly toy, extendable tube toy
-Muti-use through adjusting the longth of tube toy

Untitled(2026)

Wind-up walking chick toy, mini clock, broken Xiaomi band
Made during Moving Camp Project

The vertigo caused by the sinking and rotation of my heart is the proof that I exist(2026)

Yo-yo with crochect
Made during Moving Camp Project

Romance Garbage(2026)

Cable ties, beads.
Made during Moving Camp Project

The Moment I Decided to Prick You(2026)
The moment I truly decided to prick you was the moment I imagined myself as my own child, and realized I could never allow her to be treated that way.

Broken lamp, cable ties, photo print(7 yeasrs old)
Made during Moving Camp Project

Untitled(2026)

Used plastic paint palette, door hinge, screws, and beads to keep the screws from hurting hands.
Made during Moving Camp Project

Wild Thing(2026)

Broken badminton racket, chair leg noise-dampening balls.
Made during Moving Camp Project

Nomadic Play: Walking in the Cosmos, Walking with Cosmos

00
Walking in the Cosmos: If we regard the entire universe as our origin, perhaps we have never left home.
Walking with the Cosmos: The universe itself is in constant flux, migration, and nomadism—we are not alone, but moving and creating alongside the cosmos.
01
Nomadic Play: Walking in the Cosmos, Walking with Cosmos is a work that transforms everyday experiences of relocation into a "nomadic game." In this practice: I treat migration and displacement as an ongoing nomadic game, regarding the entire universe as both home and playground—as the moving helper once told me during a snowstorm: "This isn't a move, it's an adventure." I view limitations and scarcity as the rules of the game, much like the Chinese word "危机" (crisis), which inherently contains both "危" (danger) and "机" (opportunity).

This work originates from my frequent relocations and school transfers during childhood and while living abroad. The moment a lease is signed, the temporariness of the space seems already predetermined—subconsciously, I know this is not my home. A certain unease has always accompanied me, yet I try to shift my focus from the security a place provides, from nostalgia for the past and anxiety about the future, to actions in the here and now and to everyday objects. In a previous apartment, I noticed Hello Kitty stickers left by the former tenant on the toilet lid, and tiny stickers quietly proliferating like mold in the corners of the shoe cabinet, seemingly attempting to mark territory and leave evidence of their existence. As children, we rarely have a say in where we live or when we move; parents make the rules and strategies, while we, as Michel de Certeau suggests, develop our own "tactics" through small acts of resistance under these rules (to some extent, I believe the relationship between tenants and houses, artists and exhibition spaces, parallels this dynamic).

I adopted a nomadic, site-responsive creative method, defining my radius of action by what can be reached on foot, using only materials available locally in the moment for improvisational assemblage and transformation. I try not to predetermine the final form of the work or control its development, but rather let it grow freely, allowing my body and hands to follow the lead of objects and materials, constantly reflecting on the rigid subject-object relationship between humans and things. In fact, many times I feel it is not I who chose these objects, but rather they who summoned me to respond. These materials mostly come from the streets, large chain stores like Daiso, local online secondhand platforms, and hidden vintage shops tucked in corners—the unexpected discoveries in these places actually excite me more than completing the work itself. Some of these objects reflect current trends and local aesthetic preferences; others come from the past, carrying unknown histories of their previous owners. Their trajectories intersect with mine, meeting in this very moment.

In this process, limitation and scarcity are no longer obstacles but become the rules of the game. Whether it's spatial accessibility or the finitude and repetition of materials, these constraints liberate me from the dizziness of excessive freedom, forming a concrete and tangible freedom. This practice is also an exercise in Stoic dichotomy of control, a practice of adaptation and surrender, and gratitude and delight in the accidental and the encountered (whether with objects or people). In reality, items acquired by chance may later be sold out or discontinued; seemingly useless things may find their place at some future moment, or perhaps never will; beloved objects held dear may be lost or broken—yet at some divine timing, find their replacement. In my heart, I often recite the Serenity Prayer, which seems to have become the cheat code for this game:

God, grant me the serenity to accept the things I cannot change,
Courage to change the things I can,
And wisdom to know the difference.

—Reinhold Niebuhr

Finally, "nomadic play" is both game (play) and performance (play) and ritual. While working on this series, I have been contemplating the connections between game, ritual, art, and everyday life—how games and performances that emerge from daily life, and the act of creation itself, in turn reshape the reality of everyday life.

02
Danger and Opportunity, Destruction and Creation:
Frequent moves, school changes, and farewells during childhood; fire alarm sounds breaking the silence of solitary nights; and the collective trauma brought by the pandemic—whether personal or collective, a certain sense of crisis and unease has accompanied me, and ironically, unease itself has gradually become a settled daily state, part of my acquired nature. In my body, a certain secret nostalgia for disaster (Lachesism) coexists with an irrepressible desire to rebuild after catastrophe—just as in the final scene of Melancholia, before the "rogue planet" crashes into Earth, the protagonists build a shelter with branches for the child and call it the "magic cave." Even in such a moment, it seems people still try to create something. And in my ears, no matter when or where, the phrase "even so" seems to linger perpetually.

Some drawings about traveling around the world/universe (7 years old)