Art | My Site 4

For me, the stage has always been more than a platform for performance.

Unlike films, photographs, or digital shorts that linger beyond the screen, theater exists solely in the present. It unfolds in real time, held together by an invisible pulse connecting performers, crew, and audience. In those fleeting moments under the lights, stories are felt like never before.

I see the stage as a temporary world and sacred space where stories take shape and come alive. Inside a theater, we cross into an in-between realm where the line between reality and imagination softens. Whether seated in the audience or directing proceedings behind the curtain, I find myself drifting across that threshold. It is where I most fully belong.

As an aspiring stage manager and storyteller, I work to protect that space. I ground each production in precision, structure, and care, while preserving its sense of magic. I shape the atmosphere that allows actors to feel safe, technicians to sync with timing, and audiences to disappear into the world we create.

In this sense, my portfolio is a kind of time capsule. It reveals how I construct meaning across cues, scripts, bodies, and light, always in pursuit of something transient yet unforgettable.

The stage reminds me that even temporary spaces can leave a lasting impact. I hope that others will join me in these in-between spaces, choosing to feel the tension, wonder, and beauty of stories unfolding at the borderland between what it is, and what it could be.

Four Stages: Inner Archipelago (2025)

I wanted to showcase my unseen emotional, psychological, and temporal terrains, each of which interacts with one another to make up who I am. Inspired by the island forms of Jeju, these once distinct terrains become even more impactful as a whole.

Sculpted faces are suspended to express the release of raw emotions such as joy, hope, anxiety, and despair before they combust or fester within. At the center of the piece is happiness, a multidimensional process that forms the essence of my inner world. Visualized using printed images, the delicate colors and hand-drawn details pay tribute to childhood simplicity and the deliberate joys of creation. The series of doors on one side represent memorial gateways, each one a nonlinear and spontaneous entry point through which to discover the fragments of my identity. Lastly, the multicolored Mobius strip road is indicative of the challenges, events, and landmark moments that define my life in a perpetual loop of change and continuity.

Threshold of Perception (2025)

Through the installation in this video, I wanted to demonstrate forest as a contradictory yet emotive presence, highlighting nature as a therapeutic escape from the stressful rhythms of daily life. Layers of green fabric and paper are suspended in the air to construct a safe space that appears both artificial and organic. With certain materials fluttering in the breeze and others rooted in place, their differences are revealed through movement alone. At first glance, everything seems to blend into a single landscape, but upon closer inspection, the divide between the natural and synthetic becomes abundantly clear. Observing these subtle divisions at play enables viewers to imbibe the tension and reciprocity that exist between illusion and recognition, rest and responsibility, and on a deeper level, urban life and Mother Earth.

Looping Desires (2025)

In this multimedia piece, a frame is erected in the middle of the space as I move back and forth following a dynamic line of trajectory. The video emphasizes soft, bright, and abstract forms that feel warm and inviting in an almost dream-like fashion. As the performer, I continue to chase this trajectory in the hope it will lead to somewhere better.

This work captures our human tendency to move toward unreachable or even fictional ideals. In that pursuit, we often forget where we are and lose track of what is real.

Around the frame, one can find drawings of a person wrapped in a snake, a path composed of snakes, and a solitary snake circling on repeat. While snakes deliver both light and dark messages across cultures, here they represent the loop between hope and illusion as well as the line between temptation and better judgment. The frame itself becomes a sight of hesitation, where the body powers forward and mind begins to question in unison. Through a process of repetition and subtle tension, this performance crescendos into a choreographed reflection on the boundary between stark reality and personal desire.

The Myth of Me (2025)

This abstract self-portrait piece began with the thought that the version of myself I present to the world may in fact be a work of fiction. My external self, shaped by expectation and perception, often appears more composed and defined than the inner truth would dictate.

Sculpted in clay, half of the face remains solid and protruding, representing the meticulously constructed sense of identity that is exposed to, and interpreted by others. The second half is rendered flat, indistinct, and unassuming in paint, alluding to an inner voice that resists definition. At the same time, a wave-like distortion runs through the entire face, marking the volatile point where these two selves clash and blend spontaneously. By dividing materials and colors in this way, the composition expresses how the forces of fiction and reality shift and accumulate fluidly from within. It enables viewers to ponder upon who they believe they are and who they present themselves to be, encouraging them to locate a truer sense of self in the gaps and spaces in between.

Anatomy of Thought (2025)

We confront the boundary between what is real and what appears to be imagined. This work captures the machinations of those moments. It evolved from my interest in the way thoughts split and sprawl unpredictably when we are forced to choose and react to certain beliefs. Employing an anatomical image as a base, the work maps a network of intersecting arrows that represent the often fragmented and nonlinear nature of thinking. Each pathway suggests a different mental direction, possibility, or emotional response, as strings in the background tug the mind in multiple directions all at once. Through layers of movement and tension, it presents the boundaries between reality and fiction, emotion and logic, not as concrete walls, but as starting points and opportunities for profound internal navigation.

The Weight of Words (2025)

In this mixed media work, two walls stand at different heights, one representing reality and the other stranger than fiction. Symbolic of communication, five stepping stones stretch across the in-between space like a bridge. The further away each stone gets from the reality wall, the more unstable, exaggerated, and unconventional its form becomes. Like language, these stones seek to express a vision of reality, only to shift into something imagined in the process.

Various figures appear to traverse the stones, demonstrating the ways in which human presence gives weight and substance to language. The more they roam, the more fictional sentiments enter into reality, reinforcing language’s capacity to connect multiple spaces and shift its meaning depending on where we stand. This visual journey highlights the fact that truth and imagination are not built upon facts, but by the words and narratives we as individuals choose to believe.

Through the Looking Hole (2025)

This piece recreates that special moment when imagination stretches through a fixed point of view and makes fiction feel tangible. By asking the viewer to peer through a single hole, I invite them to become both the observer and the storyteller.

The diorama inside exists in a flat painted space that comes alive only when gazed upon by external eyes. These are the eyes of those willing to slip into another world and extend the story beyond the cut-out figures who dwell there. The layered background and overlapping two-dimensional characters are arranged in a way that suggests uncanny depth and movement. At the same time, the mirrored exterior reflects the real world back at the observer, reminding them to relinquish absolute truth and embrace a threshold where anything and everything is possible.

Behind the Spotlight (2025)

In this piece, a wooden frame stands at center stage, surrounded by overlapping beams of colored light. In this performative space, a subject in full costume stands upright under the spotlight, while technicians, directors, and stagehands support in grayscale behind the scenes. Their essential efforts, though concealed, remind viewers that illusion always depends on the foundation of something real.

The grid paper background evokes the order and structure that underpins theatrical production, each square celebrating the invisible planning, repetition, and collective collaboration required to bring stories to life. Within that structure, color emerges through vivid gestures, saturated attire, and lighting effects that draw us into a world of reality reimagined. Here, the stage manifests as a threshold between audience and maker, where the fragile fault lines between creation and illusion, truth and performance, remain permanently in flux.

Research Page for [Wizard of Oz]

I conducted research on Wizard of Oz and created this research page to outline the conceptual underpinnings of the set I designed for The Wizard of Oz. During the process, I envisioned Emerald CIty by using various shades of green, shimmering surfaces, and rounded shapes to evoke a sense of fantasy. In contrast, Kansas is saturated in a deep sepia tone with rough textures to portray the essence of reality. The yellow brick at the bottom, constructed as a circular and spiral path with three levels, serves to connect these two different worlds. Kansas is located on the lower level, while the middle level represents a journey to and from Emerald City at the other extreme. A transparent deck and bridge combine with particular lighting and sound effects on each level to achieve a certain dimensionality and emphasize a sense of transition. In general, the cubic design and projection mapping of the set facilitates flow and enables swift scene changes throughout.

Stage Design Model for [Wizard of Oz]_1

This miniature theatre model is constructed from a single corrugated cardboard box, with each compartment divided to represent a different scene level. The harsh realities of Kansas play out at the lower level via rough-textured wheels and pillars, while the middle portion is abundant with paper flowers and archways to enable transition and guide the overall flow of the journey. Finally, the upper level includes transparent film and crystal-esque structures to highlight the idyll of Emerald City while celebrating the fantasy and magic of Oz. A small green head can also be seen, as modeled directly on the original film version of The Wizard of Oz. Each compartment features a unique background color to create a sense of separation and reinforce the shifts between worlds as evident in the story.

Stage Design Model for [Wizard of Oz]_2

Each side of this rotating, cubical stage set represents different settings in The Wizard of Oz such as the Kansas farmhouse, the Yellow Brick Road, the forest, and Emerald City. The purpose here was to demonstrate how the stage transforms naturally from one scene to the next in accordance to the cubes rotation. The pathways and trees on top symbolize the journey itself, while the stairs and openings on the side facilitate seamless entries and exits for the actors. While cardboard, paper, and wire are utilized to test the integrity of structure, a real production would also integrate a turntable with lighting and projection to control pacing and mood throughout.

Stage Design Model for [Wizard of Oz]_3

This final stage model for The Wizard of Oz features a series of windows. Within the organic frame, one can find Kansas’ house and the forest at the bottom, and the poppy field, Emerald City, and Oz’s chamber at the upper level. In the center, silhouettes of Dorothy and her friends visualize their movement across the story. This aerial perspective enables the audience to experience the entirety of the stage like a panoramic scroll, offering perspective as spotlight cues illuminate one window at a time. A combination of paper and styrofoam adds a sense of depth, while changes in color and brightness express a range of emotional transitions.

Costume Design Sketches for [Wizard of Oz]

I designed costumes for Dorothy and Scarecrow. Dorothy’s costume is essentially a reinterpreted and more contemporary version of my school’s uniform. A blue checkered pattern and red shoes allude to the original work of Oz, while also emphasizing the sharp silhouette, waistline, and pleats on the skirt.

The Scarecrow’s costume is made out of coarse fabric, patches, and embellishments such as straw and branches to evoke an agricultural vibe. The imply a fluid range of motion, his limbs have been segmented.

Proportions were tested through multiple thumbnails and colored pencils and markers draw attention to the unique textures of the two costumes. Additionally, the high visual contrast would enable the finer details of the designs to stand out under the stage lighting.

Stage Design Model for [Wizard of Oz]_3
with Lighting

I studied various lighting designs and styles for this piece. Each window within the frame exists as a different stage with its own lighting colors, intensity, and angle to encourage audiences to explore mood and scene transitions in greater detail. For Kansas, warm yellows and orange lights convey the grounded nature and sense of safety that is prevalent there. In contrast, the greens and blues express the tension and fantasy that unfold amidst the forest. A distinct green line traverses the central level to express a continuous sense of movement. As a whole, this piece celebrates my research-centric practice, illuminating the lighting positions and color temperature notes I studied along the way.

Research Page for [The Jungle Book]

I tried to demonstrate the stage design process for a production of The Jungle Book on this research piece, focusing on the rhythms of nature that define Mowgli’s journey. The mood boards show bright and nocturnal color palettes as well as the textures of leaves, moss, and rocks.

In the sketches, one can observe the alignment of a circular deck, wooden bridges, and arched caves, capturing the perspectives of audience members as they intuitively follow the movement of actors on stage.

The stage spans three levels, the ground (riverbank and rocks), the mid-level (a circular path), and the upper canopy. A curtain of vines opens and closes each scene, while lighting transitions from warm yellowish-greens during the day to deep indigos and purples at night in order to set the tone and shift between moments of adventure accordingly.

Stage Design Model for [The Jungle Book]_1

In this set design, I positioned cardboard pillars and hanging vines as if they were trees in a jungle. At the same time, mid-level decks and branches interconnect to enable Mowgli-specific actions such as jumping and swinging. A rock gate at the bottom serves as an entry point and hiding place combined, while the leafy curtain in the back is used for scene transitions. Layered leaves create a sense of depth and partially obstruct the audience’s view to emphasize the unknown and evoke ongoing tension. In the actual performance, lighting will transition from bright to cool tones to shift between timeframes and atmospheric conditions.

Stage Design Model for [The Jungle Book]_2

Again inspired by Mowgli’s movements in The Jungle Book, the focal points of this stage model are the central tree trunk and the staircase inside the hollow trunk. This composition allows Mowgli to climb, hide, and make swift entrances and exits all from a single location. The rock at the front is utilized as a stopping point, while the large leaves and vines create a frame that partially obscures the audience’s view in a way that tempts interpretation and heightens visual tension all at once.

Stage Design Model for [The Jungle Book]_3

This model combines key spatial locations from The Jungle Book’s narrative into a single stage. A circular staircase wraps around the set, while the center is left open like a riverbank, offering room for action-packed scenes. The arched cave functions as an entrance and exit point as well as a hiding place, and the straw hut atop the stairs manifests as a forest hideout built by Bagheera to protect Mowgli. The muddy path in front encourages the creation of footprints, slippage, and other forms of tactility, and the vine ropes are designed to facilitate crossing or swinging motions. The roughness of the rocks contrasts with the smooth surface of the water, and lighting variations shift the mood from greenish-yellow freshness during the day to a cool teal as the night draws in.

Costume Design Sketches for [The Jungle Book]

This is a costume that I designed for the character of Mowgli in The Jungle Book. As Mowgli is a youth, I endeavored to minimize excessive exposure and prioritized mobility and security for the actor in question. Inspired by elements such as leaves, bark, and hemp rope, I layered organic textures to create a handmade and distinctly primitive quality. The frayed edges and visible stitching further emphasize this wild, untamed aesthetic. The top is made in the style of a breathable vest, while the bottom half consists of a short wrap or shorts suitable for climbing and running. The actor’s bare feet are wrapped with fabric and leather straps for support, and the moss green, soil brown, and woody tones blend authentically and harmoniously with the jungle backdrop.

Stage Design Model for [The Jungle Book]_3 with Lighting

After researching on lighting design, I created this model to reflect the emotional tension that exists between on stage characters during a Jungle Book production. . Red is employed to evoke danger, anger, or the racing of a heartbeat, while blue represents fear, loneliness, and the spirit of the night. Here, yellow symbolizes hope in the context of Mowgli’s safe spaces. Floor uplights illuminate center stage and stairs and arches are shaped by side and back lighting to create silhouettes. Crossfading between the three colors establishes rhythm, and the shifting of shadow trajectories draws focus to movement throughout.