Contemporary Artist
Research Notes
How Images
Become Reality
A map of ongoing inquiry into perception, memory, and the construction of visual reality.
01
Central Question
What makes what we see feel real?
In my work, images are not treated as fixed objects, but as phenomena that emerge and transform through the interplay of looking, memory, media, the body, and technology. Each series examines this premise from a different perspective, exploring the conditions under which images come to be perceived as real, and the moments when that sense of certainty begins to waver.
02
Practice Map
Each series investigates the same question from a different perspective. At the centre is not an answer, but the question itself, deliberately left open.
03
Series — Relationships
Images
Perception・Body
A series in which human figures appear, disappear, and move through ambiguous states in between, depending on the viewer’s position. The image is presented not as a fixed object, but as something that comes to be perceived as real through the viewer’s bodily engagement and shifting viewpoint.
Display
Screen Reality・Materiality
AI-generated and digital images translated onto physical supports. The work interrogates the boundary between the reality that exists inside the screen and the reality that emerges on the material surface.
Lost Idea / PhaseⅡ
Information・Overwriting・Confusion
Beginning with early works that layered broken glass plates over magazine images, the series explores the shifting nature of information and visual value. The ongoing Phase II introduces AI-generated imagery and lenticular structures to examine how perception and memory respond to an environment in which information is constantly updated and overwritten.
Flashback
Memory・Light・Transformation
Beginning with changes in the light of a particular day and in personal memory, this series explores how images transform over time and come to acquire a different sense of reality.
Floral Prompt
Longing・Generation
The site where memory, desire, and aesthetic sensibility are externalised through the AI image-generation process. The prompt itself becomes a portrait of the artist's inner image world.
04
Medium as Apparatus
Lenticular
An optical structure that allows viewers to physically experience how images change with their position, bringing into question the conditions under which what they see comes to feel real.
AI
Both a tool for generating images and a site where memory, longing, and aesthetic sensibility are externalised.
Acrylic / UV print
A support that grants digital images thickness, reflection, and material presence.
Video
The form that shows how an image continues to transform through time.
05
Visual Culture and Perception
Much of the world we encounter each day is experienced through photographs, moving images, social media posts, and AI-generated imagery. Images do more than communicate events. They shape our sense of others’ presence, contribute to the formation of memory, and serve as points of reference when we decide what to believe.
The question, then, is not only whether an image represents something factual. Under what conditions do we perceive what we see as reality? How do viewpoint, the body, memory, experience, and our trust in a medium shape that perception?
My practice does not seek to offer definitive answers to these questions. Instead, it attempts to create situations in which viewers can encounter the conditions of their own seeing. As images appear, disappear, overlap, and are overwritten, we are brought face to face with the often unnoticed processes through which we come to accept something as real.
To question the relationship between image and reality is also to reconsider the assumptions through which we understand the world and others.
06
Research Journal
'October 2026｜Social Messages and the Question of Seeing'
I have been reconsidering the role of social messages in contemporary art.
While reading Artificial Aesthetics by Emanuele Arielli and Lev Manovich, I found myself returning to the question of what an artwork seeks to communicate to society.
Some works directly address political issues or historical events. My own interest, however, lies in a more fundamental question: how do we perceive the world in which those issues and events take place?
Sensing the presence of someone through an image on a screen. Experiencing changes in memory and impression as new information continuously appears. Finding beauty and a sense of reality in AI-generated images that have no physical counterpart.
These questions concern individual perception, yet they are also deeply connected to the visual environment of contemporary society.
Communicating a clear message through art is not necessarily the same as creating an opportunity for viewers to become aware of the workings of their own perception. Yet might the latter also lead us to reconsider the assumptions through which we understand the world and others?
How can the question of seeing engage with society?
This is something I would like to continue exploring through my artistic practice and research.
07