Site of Life

Exhibition

How is aliveness built, sustained, and experienced? The project and installation Site of Life are an autotheoretical exploration that translates the experience of nature into an artificial yet immersive space. Using elements of stage construction—light, cables, and trusses—it poetically reinterprets technical materials. Fans set fabric into motion, gifting the space breath, while a topographic map of the cables traces imagined landscapes—personal paths made accessible to others.
Inspired by time in the South Korean mountains, where I felt inseparably woven into life itself, this installation invites stillness and movement alike. Readings from my short stories Erinnerung an mein Leben dem Himmel nah (Memories of my life close to the sky) expanded on these themes, exploring how we create spaces—physical and emotional—where the feeling of aliveness unfolds.
Echoing the cyclical nature of creation, the fabric used in Site of Life was later repurposed—shared with a designer friend and incorporated into my exhibition outfit, reinforcing the idea that what is built and experienced continues to transform. January 2025. Bielefeld, Germany.

Unord

Exhibition

The group exhibition Unord presented nine artistic positions, spanning photography, spatial objects, and multimedia installations. Exploring themes of space, order, and disruption, the works invite reflection on shifting structures and perceptions.
A supporting program fostered dialogue between art and society, featuring a guided tour with philosopher Hannah Wallenfels on speculative practices and a talk with author Zaia Alexander on home and literary “non-places.”
Artists: Annette Brückner, Philip Fröhlich, Leonie Lisette Göttling, Andreas Jon Grote, Johannes Hüffmeier, Christian Kieselbach, Rebecca Schneider-Reuter, Jana Sehnert, Leif Stohlmann. 30.10.2024-26.11.2024. Bielefeld, Germany,

Blueprint

Exhibition

Blueprint is a collective exploration of form, space, and digital possibilities. This group exhibition featured interactive projects, video and sculptural objects, the exhibition served as a site of experimentation—where ideas take shape and expand.
My contribution explores the tension between restriction and expansion, using PU foam to visualize the struggle against containment. Some forms appear restrained while pushing beyond their confines, spilling out, resisting control. The objects reflect a deeper impulse—to break free from societal constraints, from the numbness we adapt to. In a world that often dictates boundaries, these objects embody the desire to unfold freely and to reclaim space. 2024. Bielefeld, Germany.

Der Klang des Sandsturms erreicht die unteren Gräser und gleichzeitig flattert mein Herz

Photography

The images in this series tell the story of fleeting moments on a sand dune. The scenes follow a person lying on the earth, intertwined with the sand and the surrounding shrubs.
The work evokes a sense of quiet introspection, mirroring the themes of longing for connection found in the poem 명사산 추억 (Myeongsa-san Memory) by Na Tae-ju—a place where the sound of a sandstorm stirs both the environment and the heart.
Much like the poem's metaphor of the sandstorm, the work explores the tension between yearning for what is lost and the simultaneous desire for renewal. 2023. Bielefeld, Germany.

Bach Sehen

Concert – Direction

During this visual concert performance a fusion of video and light art brought Johann Sebastian Bach’s Cello Suites 1–6 to life, performed by Sigurd Müller on his 1680 cello. As part of this project, I directed rehearsals and the live concert, shaping the interplay between music and visuals. Twelve students (myself included) created projections that responded to the music, blending digital aesthetics with the timeless resonance of Bach’s compositions. Through careful direction, the performance became an immersive experience—where sound and image moved in harmony, enhancing the depth of each suite. 2023. Bielefeld, Germany.

Monologue

Netnographic Shortfilm

Monologue is a personal confrontation with the climate crisis, my own privilege, and ‘apocalypse fatigue’, the exhaustion coming from having to make endless moral decisions that seemingly have no impact, common amongst Gen Z.
While searching for climate-related videos, I observed how they rely on spectacle—dramatic imagery, the myth of human dominance over nature—rather than offering concrete solutions. These narratives erase systemic inequalities and reinforce a colonial perspective that upholds white, Western agency while sidelining those most affected by the crisis.
This critique led to my Bachelor's thesis, Klimavideos in der Krise (Climate videos in crisis, 2022), where I examined YouTube climate videos through a media-analytical and anti-racist lens. The research exposed how those in positions of power miss the opportunity to inform responsibly, instead reproducing racial and social inequalities that dictate whose future is worth protecting. 2020. Mainz, Germany.