I create visual contents that explore ambiguity, spatiality, and perception through graphic languages.

My practice primarily revolves around 3D graphics as a medium, particularly for its potential in layering and spatial placement through the z-axis. I’m drawn to the depth that multiple layers can generate—not only in composition, but also in meaning.

Much of my interest lies in questioning the stereotypical roles of images, and slightly bending the visual expectations we hold. People often describe my work as "abstract"—a term I don’t strictly define, but rather use as an entry point into the unstable, hard-to-describe spaces where image, concept, and perception overlap.

I enjoy constructing and decorating square frames. To me, the square is not an end-point, but a modular unit—a vertex in a larger grid where images are interconnected. The boundary of one frame hints at another, and this suggests a narrative structure made of surfaces, layers, and transitions.

I am particularly curious about how visual content is perceived, circulated, and consumed today—especially the novelty fatigue in online visual culture. I often ask:

What kind of images feel “new”?
How long does that sense of novelty last?
How is “value” created around images in a culture of saturation?

These questions inform my attempts to visualize ephemerality, spectacle, and the lifespan of graphic aesthetics.

Lately, I’ve been exploring ways to embed narrative into graphic images, especially through speculative and conceptual design methodologies. I'm interested in the spectrum between aesthetic novelty and narrative reception, and I aim to create images that move along that continuum—resisting fixed meaning, while suggesting possibilities.

Assembly-grid began through critical research and experimentation in digital graphics and image aesthetics.

Since beginning 3D graphic work in earnest in 2023, I have developed questions about current digital image production methods and their aesthetic tendencies. I discovered that self-replicating and standardized image production methods operate in close connection with the systems of the visual arts industry.

Through the process of creating graphic works via various experiments, I began exploring the possibilities of new visual languages that break away from conventional aesthetics. Through these works, two core themes emerged: an exploration of post-industriality in popularly used consumer-oriented graphic technologies and the possibilities of alternative graphic aesthetics.

In seeking to explore these themes, I recognized the limitations of existing social media platforms' linear structures and determined that a space capable of more expanded discourse and multi-layered approaches to graphics was necessary. Accordingly, I established an independent research platform that could comprehensively address research in digital image aesthetics, critical design theory, and contemporary visual culture.

This website functions as an intellectual space that archives these exploratory processes and connects related theory and practice, while simultaneously emerging from the necessity for an experimental space that visualizes and shares the 'process' of methodologies for creating de-standardized graphic images.