My practice begins with a question: Does music exist only as sound? Music is generally understood as an auditory art that unfolds and passes through time. Yet I do not believe that music exists only in the moment it is heard. Sound can be transposed into light and color, vibration and movement, changes in space, and bodily responses. At times, it remains within us without a clearly defined form, like a memory or an emotion. For me, music is less a finished outcome than a point of departure from which multiple sensations and relationships emerge.

I explore how invisible music can be made visible and how inaudible emotions and memories can be experienced within a space. Physically, sound is vibration; once it reaches us, however, it acquires different meanings according to our senses, memories, and individual experiences. The same sound may offer comfort to one person while evoking anxiety or a memory of loss in another. I am interested in the gap that arises between objective acoustic phenomena and subjective emotional experience.

This interest leads me to combine sound with light, color, objects, moving images, and electronic devices. Within my work, sound may be translated into variations in the brightness or movement of light, while color suggests emotional states or the passage of time. Objects function both as physical structures that transmit sound and as mediators symbolizing relationships between people, and between individuals and space. Rather than merely explaining or complementing one another, these media interact to form distinct sensory experiences.

My practice is not limited to establishing one-to-one correspondences between music and visual art. Translating a particular pitch into a specific color, or altering the brightness of light according to volume, may provide a point of departure for connecting sound and image. My primary interest, however, lies not in simple rules of conversion but in the ambiguity and new interpretations that emerge when different senses encounter one another. At the moment sound becomes light, it is no longer merely the original sound, nor is it simply a visual image. New experiences and meanings emerge at the boundary between different sensory modes.

Technology is an important element in enabling these sensory transitions. I use sensors, lighting, electroacoustic sound, moving images, digital programming, and various electronic devices to construct environments that respond to their audiences. Yet the novelty or complexity of technology itself is not the purpose of my work. Technology does not serve as a means of quantifying emotion or efficiently controlling human experience. Instead, it functions as a mediator that makes invisible relationships and transformations perceptible.

At the same time, I pay attention to the ways technology can both extend and restrict human perception. Digital systems translate sound and movement into data, producing light and images according to predetermined rules. Human emotion, however, cannot always be reduced to consistent values, and people may respond unpredictably even to the same stimulus. My work reveals the point at which precise technological systems encounter the uncertainty of human emotion. Subtle variations, coincidences, delays, and errors occurring within controlled systems also become integral elements of the work.

In my work, space is not merely a background that contains the artwork but an active medium in itself. Sound is perceived differently according to the scale and materials of a space and the position of the audience. Light takes on new forms depending on surfaces, distance, and the surrounding darkness. As viewers approach or move away from the work, walk through the space, or remain in one place, both the state of the work and their sensory experience change. The work therefore exists not as a fixed image or a completed piece of music, but as an environment that continually transforms across time and space.

The audience is likewise not a passive observer situated outside the work. Their proximity, movement, voice, touch, and duration of engagement produce changes in its sound and light. The work assumes a particular form at a particular moment only through their participation, while each viewer completes a unique experience shaped by their own senses and memories. The same work can therefore manifest differently depending on who encounters it, when they encounter it, and from what distance.

I do not employ interaction merely to generate novelty or immediate reactions. Rather than creating works that respond instantaneously to the audience’s actions, I am interested in the gradual process through which viewers become aware of how their presence and movement alter the surrounding environment. Through interaction, viewers discover themselves as agents capable of transforming the space. At the same time, they experience how they are also affected by sound, light, other people, and the environment around them.

Through this process, the work becomes a place where personal emotions encounter those of others. Emotion may appear to be an entirely private experience, yet it is continuously communicated outward through sound, gesture, facial expression, distance, and silence. I regard emotion not as something isolated within an individual, but as something that moves and transforms between people, between people and objects, and between bodies and space. My work seeks to make these movements and connections of emotion perceptible through the senses.

I am particularly interested in the contrasting states of connection and disconnection. Today, technology enables us to connect more rapidly and extensively than ever before, yet it can also distance us from the emotions and presence of others. Connection makes relationships and comfort possible, but it may also produce tension and constraint. Disconnection may signify loss while simultaneously establishing new forms of distance. Through elements such as sound, light, cables, strings, passageways, and objects, I reveal the dual nature of these relationships within space.

Emotion is neither directly explained nor confined to a single meaning in my work. Rather than asking viewers to feel a particular emotion or conveying the meaning of a work through a fixed narrative, I seek to create an open space in which each person can encounter their own sensations and memories. Repeated sounds, subtle tremors of light, distances between objects, and unexpected moments of silence and delay create spaces in which viewers can project and dwell upon their own emotions.

This approach also represents an attempt to move beyond the conventional disciplinary and institutional boundaries that have separated music and visual art, engineering and technology. Rather than defining my work exclusively as music, media installation, or interactive art, I understand it as a structure of experience in which multiple media and senses operate together. Within this structure, sound becomes image, light becomes rhythm, and objects become both instruments of connection and mediators of emotion.

I believe that the convergence of art and technology should do more than simply intensify sensory stimulation. In an environment saturated with rapidly changing images and powerful stimuli, art can instead offer time to pause, listen, observe, and become aware of one’s senses anew. My work encourages viewers not to pass through an artwork as though consuming it, but to remain within the space for a while and slowly reflect on their own emotions, the emotions of others, and their relationship with the surrounding environment.

Ultimately, rather than directly explaining emotions or offering answers through music and art, I seek to create environments in which emotions can be experienced, communicated, and contemplated. Within these environments, invisible sound takes form through light and movement, personal emotions are transmitted into space and toward others, and different senses form new relationships.

For me, art is not a means of communicating a finished meaning, but a process through which sensations and emotions that have yet to be named can be discovered. Moving between sound and light, technology and space, I continue to explore how human senses connect and separate, and what kinds of emotions and reflections may arise in the spaces between them.