Solo Exhibitions (Brief)

LISEOK has held solo exhibition 《FRAME: The Edge of All Grounds》 (Art Space Hohwa, Seoul, 2024).

Group Exhibitions (Brief)

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).

Originality & Identity

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.

Style & Contents

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.

Topography & Continuity

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.