Solo Exhibitions (Brief)

Boma Pak’s major solo exhibitions include 《Ritual of Matter》 (Leeum Museum of Art, Seoul, 2023), 《Baby》 (Project Space Sarubia, Seoul, 2023), 《Mercy : Paintings and Matters 19xx-2022》 (YPC SPACE, Seoul, 2022), 《Sophie Etulips Xylang Co.,》 (Online, 2021), and 《Pre-Open Emerald Glass, The False Sacrifice of White》 (Archive Bomm, Seoul, 2017).

Group Exhibitions (Brief)

Pak has also participated in numerous group exhibitions such as 《The Edge of Belongings》 (Hessel Museum, New York, 2025), 《MMCA Performing Arts 2025: Showcase - Gathering》 (MMCA / Art Hub Copenhagen, 2024/2025), 《Living in Joy》 (Art Sonje Center, Seoul, 2023), 《Defense: …》 (d/p, Seoul, 2020), 《Shame on You》 (DOOSAN Gallery New York, New York, 2017), and 《Silky Navy Skin》 (Insa Art Space, Seoul, 2016).

Originality & Identity

Boma Pak’s practice began with a focus on the sensorial qualities of “reflectors” and the notion of the “fake.” In her solo exhibition 《Pre-Open Emerald Glass, The False Sacrifice of White》(Archive Bomm, 2017), she captured fleeting moments—sudden flashes of light and disposable or replaceable images—as singular events. Through these moments, she questioned how such phenomena are excluded by systems of capital and society. Rather than the object itself, Pak focused on the sensations surrounding it, seeking to grant a sensorial presence to what is often overlooked or easily erased.

She later expanded her narrative structure by constructing fictional characters and companies. In her solo exhibition 《Rebercca လက် and The Cost》(Gallery SP, 2019), she introduced the fictional figure “Rebercca Son,” a Russian man who lost both arms in an accident yet continues to make perfume. By organizing the exhibition space around this non-existent person and product, she posed the question: can fiction dominate reality? This attempt reconceptualized the absence of material and the opacity of existence as a new sensory mode.

In her online solo exhibition 《Sophie Etulips Xylang Co.,》(2021), Pak integrated the various fictitious personas she had explored over the years into a singular fictional company. Through this, she overturned the social classification systems that divide real/fake, center/periphery, and presence/absence. Here, fiction functions not as a mere substitute, but as a tool that reveals the latent “truth” of what has been overlooked or excluded by societal systems.

This conceptual trajectory reached a peak in her recent solo exhibition 《Ritual of Matter》(Leeum Museum of Art, 2023). By temporarily occupying the museum’s lounge space as a corporate reception area for her fictional company, Pak constructed an otherworldly postmortem ritual for a surreal corporation. Through this setup, she disrupted the fixed and authoritative with sensations of flow, installing valueless materials, imitation jewelry, and scent as a form of artistic requiem for the invisible and marginalized.

Style & Contents

From the beginning of her practice, Pak has combined nontraditional materials that activate the senses—drawing, digital images, objects, scent, and sound. In particular, fldjf studio, launched in 2014, explored the reflection of light. By capturing images reflected in glass windows and repeatedly covering and revealing them, she approached the immateriality of matter. One of her most representative works from this period consists of approximately 10,000 flat digital objects titled light-covers.

In 2018, Pak extended her investigation into tactility through the series ‘WTM decoration & boma’, crafting accessories and decorative objects out of air-dry and plaster clay. This series marked a shift from the image as a “reflection” to something molded by hand, experimenting with the material transference of sensory perception.

In 《Rebercca လက် and The Cost》, Pak constructed a fictional narrative using installation, scent, fictional products, advertisement images, and performance. Though the scent fills the space, it originates from a character who does not exist—“Rebercca Son”—prompting viewers to oscillate between fiction and reality through olfactory and emotional engagement.

In 《Ritual of Matter》, she expanded the fictional worldview of Sophie Etulips Xylang Co. Using a website as a core medium, Pak introduced the company’s history, technologies, and executive figures. These were parodic representations of traditional corporate structures, intentionally exaggerated through crude materials such as chrome markers, stickers, and digital prints to overwhelm the senses and obscure tangible substance. She produced images of marble textures in oil paint and printed them as vinyl stickers, simulating material authority and transplanting fictive sensory experience into public architectural space.

Topography & Continuity

Since the beginning of her career, Boma Pak has consistently focused on entities that “exist but do not exist.” Light, scent, emotion, residual matter, and fictional characters are all beings that hold little market value and fail to acquire social authority. Pak refers to this as the “aesthetic of the fake,” and through a range of strategies, she has consistently sought to materialize these fakes—disrupting artistic institutions, capital structures, and hierarchical systems.

Over time, Pak’s practice has evolved from individual objects and performances into an expansive cosmology—a self-contained system exemplified by projects like Sophie Etulips Xylang Co. This structure functions not merely as playful fiction, but as a “mirror-fiction” that paradoxically reflects and critiques social organization. Pak temporarily occupies both physical and virtual spaces—such as the Leeum Museum of Art, corporate lobbies, and online platforms—to reframe their authority.

This distinctive artistic methodology positions Boma Pak as a “re-definer of the senses” and a “system builder of fictive reality,” granting her a singular presence within the topography of contemporary Korean art. She is currently expanding her reach internationally, participating in major exhibitions such as 《The Edge of Belongings》(Hessel Museum, New York, 2025).