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.
Hwadamchae, a multipurpose cultural space located at the entrance of Hwadam Forest within Gonjiam Resort in Gwangju, Gyeonggi Province, opened on March 29.
Hwadamchae embodies the philosophy and narrative of Hwadam Forest—“harmonious coexistence between humans and nature”—through space. Positioned at the entrance of Hwadam Forest, it functions as a sarangchae (reception space) that welcomes visitors first, designed to allow deeper engagement with the forest through art appreciation, conversation, and contemplation.
Hwadamchae integrates the structure, materials, and techniques of traditional Korean architecture (hanok) to harmonize with the natural surroundings of Hwadam Forest. The space spans 1,752㎡ (approximately 530 pyeong) and includes features such as an object staircase, the media art hall “Byeolchae,” the main building, a courtyard, and a rooftop garden.
The main building allows visitors to experience the inherent beauty of traditional Korean houses. This is achieved through elements such as the courtyard, storage rooms, and sarangchae-inspired naming, as well as ondol flooring treated with soybean oil and wooden maru floors. The rafters are designed in the shape of a stork’s wings. The stork, designated as a Class I endangered wildlife species by the Ministry of Environment, has been the focus of restoration efforts by the LG Evergreen Foundation, adding further meaning.
Throughout Hwadamchae, visitors can encounter artworks that reinterpret nature and the forest in artistic ways. In the Byeolchae, works employing generative AI-based media art are presented, offering new interpretations of Hwadam Forest’s philosophy of “harmonious coexistence between humans and nature.”
Artist Lee Heewon, who is based in France, presents Flower. She captured the natural growth processes of flowers in Hwadam Forest through hundreds of hours of time-lapse photography, creating an immersive media artwork. LG’s generative AI “EXAONE Atelier” was trained on 350 million copyright-free data images along with 6,700 images of Hwadam Forest, and presents the four seasons of the forest in its own distinctive style.
Meditation of Water by master art furniture artist Choi Byunghoon offers visitors a moment of rest and reflection. In addition, works by artists Lee Taesoo, LISEOK, Jung Woowon, and Jeon Ahyun allow visitors to experience the harmony between nature and advanced technology within Hwadam Forest.
Hwadamchae can only be accessed through an online reservation system. The admission fee is 5,000 KRW, and a 50% discount is offered for one month from March 29 in celebration of the opening.
Meanwhile, Hwadam Forest, which has reopened after its winter closure, will host a spring daffodil festival through April. Approximately 100,000 daffodils are expected to color the forest and the Gonjiam Resort plaza in bright yellow.
