Artist statement:
My artistic practice is grounded in long-term inquiry into material culture, modes of transmission, and their ruptures. I work in proximity to gestures unfolding across kitchens, courtyards, and industrial landscapes — sites where knowledge is sustained through bodily rhythm and material contact rather than through representation — and, more recently, the voided grounds beneath them, which sustain nothing and retain only the imprint of what was removed.

I listen nearby — beside rather than about — to what recurs without settling into a single narrative, its memory embedded in material and muscle. I compose with what this listening yields — voices, frictions, silences — building them into multi-channel audiovisual installations. My practice explores how unfinished loss persists materially through repetition, delay, and return.

In the Intervals series (2021–2023), I experimented with re-recording voices, machinery, and seascapes in a reverberation chamber, exploring how echoes can detach from their stable origins. Once displaced from their source, these sounds neither return as identical remnants nor resolve into simple transformations; they register moments of slippage where repetition diverges from itself. What returns may no longer coincide with what was first heard.

My installations create acoustic situations that expose material and perceptual fractures. Rather than claiming to 'speak for' the unheard, I track emergence and recession, registration, and failure — a 'circumscribed task,' in Gayatri Spivak's phrase: the ethical limit of a researcher's position.

My current work moves this inquiry underground: casting sound into the voids that extraction left, and recording what returns.

Left: Photo from fieldwork, Andong, Korea, 2021.
Middle: Re-sounding experiment in an echo chamber, Denmark Technical University, 2023. (Link to video: https://youtu.be/LoiJbgAPxIA)
Right: the mine void — not yet sounded, fieldwork begins, 2026.