LISEOK graduated with a degree in visual design. He works as an artist across various fields, including media performance, international organization campaigns, and fashion. He is currently lives and works in Paris, France.
LISEOK
has held solo exhibition 《FRAME: The Edge of All
Grounds》 (Art Space Hohwa, Seoul, 2024).
LISEOK has also participated in numerous group
exhibitions, such as 《Heritage: The Future Fantasy》 (DDP, Seoul, 2025), 《Transcendencia: La
vida》 (Korean Cultural Center in Argentina, Buenos
Aires, 2024), and 《Hi, Light》
(KOO HOUSE MUSEUM, Yangpyeong, 2022).
LISEOK’s
work begins with reconstructing the relationship between nature, humans, and
technology through the concepts of “light” and “frame.” He assumes nature as an
infinite entity, and by imposing the finite boundary of a “frame” onto it, he
questions the very way we perceive nature. As seen in the ‘FRAME’ series, which
began in 2018, the artist intervenes in natural landscapes with artificial
light to create scenes where reality and unreality intersect, transforming
familiar landscapes into unfamiliar sensory experiences.
This
approach expands beyond simply representing nature to revealing the perceptual
structures through which humans view it. In works such
as FRAME2021-CHT(2021), light functions not as a tool
to illuminate nature, but as a device that cuts across and segments it. Through
this, the artist exposes moments where nature and humans, environment and
technology collide and intersect, while exploring the dissonance in perception
that arises in between.
In the
2022 work ENTER(2022), this line of inquiry extends to
the relationship between technology and humans. Set against the backdrop of a
“hyper-connected” society accelerated in the aftermath of COVID-19, the artist
focuses on the idea that while artificial intelligence may surpass human
capabilities, the domain of “sensation” still remains uniquely human. The
structure of a narrow, elongated passage leading to a screen metaphorically
suggests a threshold into a new world, visually conveying the anxiety and
confusion of confronting a technology-driven reality.
In the
recent solo exhibition 《FRAME: The Edge
of All Grounds》(Art Space Hohwa, Seoul, 2024), this
exploration of the relationship between nature and humans becomes more
structurally articulated. Into the Frame(2024)
and Bruised Flame(2024) combine themes of hyper-connectivity,
sensory loss, and cycles of creation and extinction, presenting the
relationship between nature, technology, and humans as a complex sensory
structure. In this process, the artist’s focus shifts from viewing nature to examining
the very conditions in which nature and humans coexist.
LISEOK has
developed his practice based on projection mapping and media façade techniques.
Projecting images onto the surfaces of architectural exteriors or natural
environments—as seen in projects such as the PyeongChang Olympic Cauldron, Oil
Tank Culture Park, and Daegu Arts Center—his work expands into forms integrated
with public space. In these works, light functions as an immaterial medium that
replaces physical materials and reconfigures space.
In the
‘FRAME’ series, this technological foundation shifts into natural environments.
Light projected onto elements such as mountains, rocks, and trees functions as
a kind of “window,” transforming real landscapes into constructed images. Here,
the combination of photography, video, and installation operates not merely as
visual representation, but as an environmental device that alters how viewers
perceive space. In particular, the use of solar energy enables a minimal mode
of intervention that does not damage nature.
In ENTER,
spatial staging is combined with sound, making the viewer’s bodily experience
central. The structure of passing through a narrow passage and encountering a
video and sound at its end draws the viewer into a continuous flow, creating an
immersive environment that extends beyond visual experience. This demonstrates
a shift in media work from being something to look at, to something to be
experienced.
In the
recent work MUNYEE(2025), the expansion of medium takes
another direction. By translating the movements of Taekwondo poomsae into light
and sound, the work transforms bodily rhythm and patterns into abstract
imagery. Within a structure combining multi-channel displays and sound,
movement condenses into moments of stillness, while sound functions as an
element that extends physical rhythm. Through this, LISEOK’s work expands from
nature and environment toward the sensory dimensions of the body and time.
A defining characteristic of LISEOK’s work is his use of “light”
as a language. In his practice, light does not merely function as a visual
effect, but as a medium that connects and reveals the relationships between
nature, humans, and technology. In particular, the concept of the “frame”
operates as a device that structures these relationships, reconfiguring the
very way nature is perceived.
LISEOK’s media sensibility not only effectively manifests
technical and visual effects, but also closely engages with issues of
perception. Rather than focusing on spectacle itself, he attends to the shifts
in sensation and perception that such spectacle produces, encouraging viewers
to perceive the familiar world in unfamiliar ways. In doing so, while
addressing the relationship between nature and technology, his work ultimately
centers on human sensory experience.
From media façade works in public spaces, to the ‘FRAME’ series in
natural environments, and more recently to installations combining sound and
embodied experience, the trajectory of his practice can be understood as a
gradual expansion of the sensory range that can be articulated through the
language of light.
Moving forward, his work will continue to vary fluidly across
media such as projection, installation, sound, and multi-channel environments.
Ultimately, LISEOK’s practice gains its strength from enabling us to re-sense a
world we assume we already know, leaving open the possibility for continuously
generating new scenes at that point of perception.
Hwaseong ICT Life Culture Center (ACT GROUND), in collaboration with exhibition planning studio METAPHOR 32 (Director Kim Miyeon), presents the media art exhibition 《Purple Marble Episode 1. No-where》 from July 9 to September 18 at ROYAL X in Hwaseong. This exhibition is the first installment of a two-part media art project 《Purple Marble》 scheduled over six months in the second half of 2022.
The exhibition originated as a collaboration among young artists, designers, and curators, aiming to introduce emerging and promising artists at the forefront of contemporary art. It is designed as a space to explore new possibilities through the convergence of art and technology, creating creative synergy through diverse approaches centered on new-generation leisure and cultural experiences.
Participating artists include Kang Jaewon, Kim Daehee, Kim Junsu, Kim Hoseong, Min Jiyeon, Studio Noue, LISEOK, and Fivecomma. These artists were selected through METAPHOR 32’s efforts to discover emerging talents, along with research and recommendations by curators at the Hwaseong ICT Life Culture Center and consultation with external experts including curator Jo Juri.
The eight participating artists (teams) work across diverse media such as sculpture, media art, interactive sound, performance, photography, and kinetic art. Beyond exploring their respective materials and mediums, they address issues revealed during the pandemic—such as the fundamental vulnerability of humanity as a biological species, unjustified wars and terrorism, the imminent threat of climate change, and the reproduction of hatred and discrimination through cultural mechanisms—presenting their distinct perspectives at the intersection of shifting and collapsing worldviews.
A total of approximately 11 works, including 8 new pieces, are presented in the exhibition. Kim Jongbaek, Director of ACT GROUND, stated, “Through 《Purple Marble》, we hope to reflect on the social awareness and questions of contemporary young artists and provide a platform to experience the infinite possibilities of the convergence of art and technology,” adding that “we will continue to support emerging artists in a balanced manner based on diversity and foster a healthy culture of collaboration.”
