Since she was born and raised in Korea, living in the United States as a foreigner is a peculiar experience to her. Specifically, foreign life as a Korean who was strongly affected by Floor culture leads her to adjust herself to adapt the foreign surroundings, to be well-blended in the new neighborhood, to belong the new culture- American culture. In light of cultural differences between Western and Korean culture, she combines Korean and American Design into her furniture by integrating aesthetics of nature and human cognition, particularly bringing the notion of ambiguous elevation perceptions between Western and Korean culture. 

 

Her belief in furniture 'Alive'- "My furniture is an avatar of me. It records my traces and memories"- guides her to collect furniture materials from her surroundings such as kitchen, studio, and closet that holds one's memory, history, and identity. Her material choice- ‘Everyday objects’ that we use everyday in everyday life- shares the same language with her furniture philosophy. Those collected everyday objects are subject to being upcycled in a greater use of furniture by piling up like the strata, an index of the history of nature. Thus, furniture is a historical, topological memorial as well as a living thing that has been transitioning and evolving with holding one’s identity and memories. Furniture is a memorial for someone to materialize the memory, it is a signal from the past.

 

 

" I am an alien like a chameleon living in confusion.

This is my life as an adaptation.

 

I am an alien from the other side of the earth.

This is my migration with my furniture.

 

The resituation of me and my furniture is melting on this foreign soil,

and blooming into a new cross-cultural furniture.

Suddenly, a gentle scent of nostalgia for my homeland softly penetrates my nomadic life.

 

Furniture is tactile ego of me.

 

Furniture is etudes of nature, human nature, and memories.

Furniture is a symphony that is harmonized by human and nature."

 

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Furniture is bizarre.