Hovering, pausing, before being overwhelmed and swallowed up by its surroundings, a state that will continue until the time of human intervention.

Material: BRASS, EGGSHELL

The space drawn by the lead is affected by the tension of the water’s surface and is stuck at a certain threshold. At the same time, subject to buoyancy, gravity, and the pull of the lead chain, up is down—when the work is situated differently as an installation than as jewelry and is oriented differently when at rest and when worn.

Material: EGGSHELL, SLIVER

By pulling the trigger or cutting the rope, we are rarely exposed to unexpected results, and I have chosen a gentler and more playful way to express this state of tension, avoiding the depiction of direct tragedy or conflict. This approach is like a tightened and straightened rope, which expresses the tension and the expected breaking point, but also hints at some potential and unknown possibilities. The work takes this limited and undefined form to discuss the boundary between fatalism and free will.

Material: WOOD, EGGSHELL, TWINE

The rickety, fragile, mended shell is no longer a closed shell, but a space for light to penetrate. As we all know, once such a “shell” is broken, it is very difficult to read and restore it, and the meaning of protection is also lost when the interior is emptied. The “shell” can be a protective space, a barrier, and when it becomes a boundary between inside and outside, the difference between active and passive opening becomes obvious.

Material: BRASS, EGGSHELL

Material: STEEL, MIRROR

Plaster is a hard and fragile material that can be easily molded, applied to turn molds, and hold our injured limbs in place for protection. But when plaster’s structures become thin, they are no different than eggshells, fragile and unrecoverable. As I searched for and repaired the cracks, I wondered from time-to-time what material it would take to perfectly fit the marks left by the past. Does it have to be the same material as the carrier that has left the scars. So, I destroyed repeatedly, braked down the original construction, repaired repeatedly, used the material that has already completed the repair and then grinded it into powder to repair the new wounds.

Material: EGGSHELL, PLASTER, CONCRETE, STEEL

Opening and closing doors, an action that each of us experiences almost every day.
When we are in a space, the door becomes the space between two spaces, and the keyhole is the bridge, the passage, the path between these two spaces. The existence of a keyhole allows us to look from one space to another, but at the same time serves as an obstacle that must be overcome. When the “key” becomes tangible, the curiosity and the possibilities it symbolizes do not fade away but are transferred from a three-dimensional perspective to a two-dimensional one. Yes, I made a key, a lock, a path that links the two spaces, and then I decompressed it into a three-dimensional version.

Material:  CARBON STEEL, BRASS

Material: TITANIUM, COPPER-NICKEL

Material: TITANIUM, COPPER-NICKEL

Material: TITANIUM, COPPER-NICKEL

Material: TITANIUM, COPPER-NICKEL

Using silk cocoons, threads, and metal, it explores shifts between softness and rigidity, textile and metal. Through threading and clamping, the materials intertwine and become active only when worn. Jewelry and garment function as interconnected elements shaped by the wearer’s movement, turning the body into the place where these forms meet and forming a unified visual and tactile expression.

Material: SILVER, COCOON

This neckpiece grows beyond the neck, slipping into the garment and moving between body, textile, and metal. Silk cocoons and threads shift from fiber to structure, meeting metal in states of tension and softness. Through threading and clamping, the materials intertwine, dissolving the line between jewelry and clothing. Activated by the wearer’s movement, the piece becomes a fluid extension of the body—an unstable form that exists between adornment, fabric, and gesture.

Material: Silver, Cocoon