MANUAL
This project addresses an experience of sexual violence in childhood, internalised passivity as a woman, and the ways in which the body is made to operate.
It begins with a personal event but does not remain at the level of individual experience. Instead, it exposes and restructures imposed femininity and internalised passivity as they operate through the body and within social structures.
In this work, the body is not positioned as an autonomous subject capable of judgment or choice, but as an object shaped by external pressure and control.
Actions do not arise from free will. They are repeated, as if directed, as if following a manual.
To construct this condition, the project brings together multiple media. Sculpture, drawing, puppetry, set, film, fabric, and soft sculpture do not function as separate outcomes but form a single structure, operating in relation to one another.
The work draws on grotesque aesthetics, the visual language of German Romantic puppetry, and the thought of Gilles Deleuze.
The body moves across categories of marginalised existence—woman, animal, flesh, and machine. In this process, it is fragmented and reassembled.
This transformation does not expand the body but reduces it.
The body does not remain a singular entity and is simplified into fixed categories.
Within the work, the objectified female body is pushed to an extreme through deliberate exaggeration and distortion. It appears explicit and excessive.
Fragmented and hybrid, the body brings forward a language of disgust and fear. This excess does not repeat the language of oppression. It turns it, shifting it into a language of force and agency.
The project resists trauma, internalised oppression, and control, and insists on the possibility of a body that moves beyond them.
This project addresses an experience of sexual violence in childhood, internalised passivity as a woman, and the ways in which the body is made to operate.
It begins with a personal event but does not remain at the level of individual experience. Instead, it exposes and restructures imposed femininity and internalised passivity as they operate through the body and within social structures.
In this work, the body is not positioned as an autonomous subject capable of judgment or choice, but as an object shaped by external pressure and control.
Actions do not arise from free will. They are repeated, as if directed, as if following a manual.
To construct this condition, the project brings together multiple media. Sculpture, drawing, puppetry, set, film, fabric, and soft sculpture do not function as separate outcomes but form a single structure, operating in relation to one another.
The work draws on grotesque aesthetics, the visual language of German Romantic puppetry, and the thought of Gilles Deleuze.
The body moves across categories of marginalised existence—woman, animal, flesh, and machine. In this process, it is fragmented and reassembled.
This transformation does not expand the body but reduces it.
The body does not remain a singular entity and is simplified into fixed categories.
Within the work, the objectified female body is pushed to an extreme through deliberate exaggeration and distortion. It appears explicit and excessive.
Fragmented and hybrid, the body brings forward a language of disgust and fear. This excess does not repeat the language of oppression. It turns it, shifting it into a language of force and agency.
The project resists trauma, internalised oppression, and control, and insists on the possibility of a body that moves beyond them.
Medium
3D / 2D / FILM
Year
2024-2026
1. sculpture
1-1 <self portrait>
1-2 <Mask>
The mask, presented as both self-portrait and sculpture, sets out how the body and the self are blocked and controlled.
The mask does not reveal the face. Instead, layers of material obstruct vision and cover the surface, enclosing the body and the self.
Lace suggests a body that can be easily damaged, while the red fabric, with a flesh-like texture, reduces the body to a material state.
A structure referencing the stair railings from the site of the incident restrains the face, adding physical constraint. Black forms spread across the railings suggest a damaged and fragmented body.
Wax flows across the structure and hardens.
As a trace of liquid, it exposes external force, pressure, and control, while fixing the residue of the event onto the body as material.
The work is presented through a juxtaposition: a self-portrait in which the artist wears the mask, and a sculpture in which the mask is placed on a damaged mannequin.
This pairing shows how the mask removes personal identity and human qualities from the body.
A body marked by pressure, control, and violence becomes indistinguishable from the mannequin, no longer maintained as a singular human presence.
The mask, presented as both self-portrait and sculpture, sets out how the body and the self are blocked and controlled.
The mask does not reveal the face. Instead, layers of material obstruct vision and cover the surface, enclosing the body and the self.
Lace suggests a body that can be easily damaged, while the red fabric, with a flesh-like texture, reduces the body to a material state.
A structure referencing the stair railings from the site of the incident restrains the face, adding physical constraint. Black forms spread across the railings suggest a damaged and fragmented body.
Wax flows across the structure and hardens.
As a trace of liquid, it exposes external force, pressure, and control, while fixing the residue of the event onto the body as material.
The work is presented through a juxtaposition: a self-portrait in which the artist wears the mask, and a sculpture in which the mask is placed on a damaged mannequin.
This pairing shows how the mask removes personal identity and human qualities from the body.
A body marked by pressure, control, and violence becomes indistinguishable from the mannequin, no longer maintained as a singular human presence.
Medium
3D - Object, Sculpture
Year
2024
<Self Portrait> / Mixed media / 2024 / 300 x 228mm
<Self Portrait> / Mixed media / 2024 / 300 x 228mm
<Self Portrait> / Mixed media / 2024 / 300 x 228mm
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<Mask> / Mixed media sculpture / 2024 / 910 x 295 x 240mm
<Mask> / Mixed media sculpture / 2024 / 910 x 295 x 240mm
<Mask> / Mixed media sculpture / 2024 / 910 x 295 x 240mm
2. puppet
2-1 <Puppet-female>
2-2 <Puppet-machine>
In this work, puppetry is set as a structure that reveals how the body is controlled and made to operate under external force.
The puppet is constructed in two forms: female and machine.
It does not remain in a fixed shape. Instead, it shifts across animal, female, flesh, and machine, undergoing gradual transformation. This change does not occur autonomously but proceeds step by step through external intervention.
This structure begins from an understanding of marginalised existence.
Woman, animal, and machine are not recognised as distinct entities but are reduced into a single category. Following this condition, the puppet body is broken down and reassembled, moving from a female form toward animal, flesh, and machine.
Puppet-Female is set as an avatar of the artist.
It incorporates the artist’s cut hair and is built on the facial structure of a wind-up doll. This construction presents a body stripped of agency and reduced to an object.
Puppet-Machine is assembled from parts of everyday objects.
Elements such as clocks, wind-up mechanisms, music boxes, and domestic devices are combined, yet they do not perform any actual function. The result takes on a mechanical appearance while remaining a non-operational body.
In the film, the puppet body is pressed, fragmented, and deformed.
The flesh is tightened, the body breaks down into a flesh-like state, and is eventually replaced by a machine.
Liquids and moving set elements act as direct forces, representing physical violence and structural oppression, and repeatedly attack the puppet.
Through this process, the puppet gradually loses vitality and force.
The puppet performs only assigned movements under external control, but this condition cannot be sustained.
Movement stops, and the body reaches a state in which it can no longer function as a body.
In this work, puppetry is set as a structure that reveals how the body is controlled and made to operate under external force.
The puppet is constructed in two forms: female and machine.
It does not remain in a fixed shape. Instead, it shifts across animal, female, flesh, and machine, undergoing gradual transformation. This change does not occur autonomously but proceeds step by step through external intervention.
This structure begins from an understanding of marginalised existence.
Woman, animal, and machine are not recognised as distinct entities but are reduced into a single category. Following this condition, the puppet body is broken down and reassembled, moving from a female form toward animal, flesh, and machine.
Puppet-Female is set as an avatar of the artist. It incorporates the artist’s cut hair and is built on the facial structure of a wind-up doll. This construction presents a body stripped of agency and reduced to an object.
Puppet-Machine is assembled from parts of everyday objects. Elements such as clocks, wind-up mechanisms, music boxes, and domestic devices are combined, yet they do not perform any actual function. The result takes on a mechanical appearance while remaining a non-operational body.
In the film, the puppet body is pressed, fragmented, and deformed.
The flesh is tightened, the body breaks down into a flesh-like state, and is eventually replaced by a machine.
Liquids and moving set elements act as direct forces, representing physical violence and structural oppression, and repeatedly attack the puppet.
Through this process, the puppet gradually loses vitality and force.
The puppet performs only assigned movements under external control, but this condition cannot be sustained.
Movement stops, and the body reaches a state in which it can no longer function as a body.
Medium
3D - Puppet, Object, Sculpture
Year
2024
<Puppet_Woman> / Collage on paper / 2024 / 210 x 305mm
<Puppet_Woman> / Collage on paper / 2024 / 210 x 305mm
<Sacred Power Portrait_1> / Mixed media / 2026 /
460 x 345mm
<Puppet-Female> / Mixed media / 2024 / 465 x 105 x 75mm
<Puppet-Female> / Mixed media / 2024 / 465 x 105 x 75mm
<Sacred Power Portrait_2> / Mixed media / 2026 /
391 x 300mm
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<Puppet-Machine> / Mixed media / 2024 / 445 x 105 x 100mm
<Puppet-Machine> / Mixed media / 2024 / 445 x 105 x 100mm
<Sacred Power Portrait_3> / Mixed media / 2026 /
425 x 290mm
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3. DRAWING
In this work, the ceiling painting drawing appears as a foreign image of salvation.
Bright colours and a gilded surface suggest a utopian space.
This image originates from a ceiling painting encountered in childhood.
Even after the incident, salvation is not something that can be attained. It remains as an external image. The body cannot reach it and stays in a position of looking toward it.
The drawing is later used within the set as a wallpaper pattern.
The ceiling painting is placed within the space and appears as a torn surface.
In this condition, the image of salvation does not remain independent.
It is placed within a structure of pressure and control, where it persists as a damaged and weakened image.
In this work, the ceiling painting drawing appears as a foreign image of salvation. Bright colours and a gilded surface suggest a utopian space.
This image originates from a ceiling painting encountered in childhood.
Even after the incident, salvation is not something that can be attained. It remains as an external image. The body cannot reach it and stays in a position of looking toward it.
The drawing is later used within the set as a wallpaper pattern.
The ceiling painting is placed within the space and appears as a torn surface.
In this condition, the image of salvation does not remain independent. It is placed within a structure of pressure and control, where it persists as a damaged and weakened image.
In this work, the ceiling painting drawing appears as a foreign image of salvation.
Bright colours and a gilded surface suggest a utopian space.
This image originates from a ceiling painting encountered in childhood.
Even after the incident, salvation is not something that can be attained. It remains as an external image. The body cannot reach it and stays in a position of looking toward it.
The drawing is later used within the set as a wallpaper pattern.
The ceiling painting is placed within the space and appears as a torn surface.
In this condition, the image of salvation does not remain independent.
It is placed within a structure of pressure and control, where it persists as a damaged and weakened image.
Medium
2D - Drawing
Year
2024
Left: <Triumph of St. Ignatius of Loyola> / ceiling fresco by Andrea Pozzo / 1685
Left: <Triumph of St. Ignatius of Loyola> / ceiling fresco by Andrea Pozzo / 1685
<Sacred Power Portrait_3> / Mixed media / 2026 /
425 x 290mm
Right: <Salvation> / Watercolour, oil pastel, and pastel on paper / 2024 / 297 x 210mm
Right: <Salvation> / Watercolour, oil pastel, and pastel on paper / 2024 / 297 x 210mm
<Sacred Power Portrait_3> / Mixed media / 2026 /
425 x 290mm
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4. set
In this work, the set translates pressure and violence surrounding the body into a spatial form.
It is based on the emergency stairwell where the incident took place and is reconfigured into a structure resembling a prison.
The set does not function as a background. It is established as a structure that controls and attacks the puppet.
In the film, the set moves, enclosing and pressing the puppet. Elements within the structure impose physical constraint and make external violence visible.
Within the space, the ceiling painting appears as a wallpaper pattern.
What once suggested a utopian space is absorbed into the prison structure and remains as a torn surface.
Within the set, liquid operates as an element that directly intervenes in the body.
Water and viscous substances spread across the puppet’s surface, flowing over it and seeping into it.
These elements embody distorted desire and violence imposed from the outside, along with an internalised condition of submission.
The set and the liquid operate together, forming an environment that isolates and deforms the body.
Pressure and control surrounding the body operate directly within this space.
In this work, the ceiling painting drawing appears as a foreign image of salvation. Bright colours and a gilded surface suggest a utopian space.
This image originates from a ceiling painting encountered in childhood.
Even after the incident, salvation is not something that can be attained. It remains as an external image. The body cannot reach it and stays in a position of looking toward it.
The drawing is later used within the set as a wallpaper pattern.
The ceiling painting is placed within the space and appears as a torn surface.
In this condition, the image of salvation does not remain independent. It is placed within a structure of pressure and control, where it persists as a damaged and weakened image.
In this work, the set translates pressure and violence surrounding the body into a spatial form.
It is based on the emergency stairwell where the incident took place and is reconfigured into a structure resembling a prison.
The set does not function as a background. It is established as a structure that controls and attacks the puppet.
In the film, the set moves, enclosing and pressing the puppet. Elements within the structure impose physical constraint and make external violence visible.
Within the space, the ceiling painting appears as a wallpaper pattern.
What once suggested a utopian space is absorbed into the prison structure and remains as a torn surface.
Within the set, liquid operates as an element that directly intervenes in the body.
Water and viscous substances spread across the puppet’s surface, flowing over it and seeping into it.
These elements embody distorted desire and violence imposed from the outside, along with an internalised condition of submission.
The set and the liquid operate together, forming an environment that isolates and deforms the body.
Pressure and control surrounding the body operate directly within this space.
Medium
3D - Sculpture, Set
Year
2024
<Set-Emergency Stair / Prison> / Mixed media / 2024 / 610 x 750 x 490mm
<The Elevated Sacred Power Portrait> / Mixed media / 2026
/ 1200 x 900mm
<Set-Emergency Stair / Prison> / Mixed media / 2024 / 610 x 750 x 490mm
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5. Film
The film addresses the process through which the body becomes objectified, operates according to a manual, and loses autonomy and agency.
It adopts the format of puppetry, allowing control and passivity to be expressed directly.
The body moves under external control, existing in a state that performs only assigned actions.
In this process, the body transforms.
The female form shifts across animal, flesh, and machine, gradually losing agency and becoming objectified.
The body is reduced to material—an inert object, a tool, a constructed form without life.
A distorted, prison-like moving set and liquid elements attack the puppet.
The puppet is enclosed and pressed, while the body undergoes continuous deformation.
Water and viscous substances spread across the body, flowing over its surface and leaving traces of external intervention.
Stop-motion and animated drawings support this transformation.
The body is compressed and tightened, breaking down into a flesh-like state. These sequences condense processes of violence and pressure into a concentrated visual form.
In the end, the body does not remain autonomous.
It moves beyond being controlled and is left as an inanimate object.
The film addresses the process through which the body becomes objectified, operates according to a manual, and loses autonomy and agency.
It adopts the format of puppetry, allowing control and passivity to be expressed directly. The body moves under external control, existing in a state that performs only assigned actions.
In this process, the body transforms.
The female form shifts across animal, flesh, and machine, gradually losing agency and becoming objectified.
The body is reduced to material—an inert object, a tool, a constructed form without life.
A distorted, prison-like moving set and liquid elements attack the puppet. The puppet is enclosed and pressed, while the body undergoes continuous deformation.
Water and viscous substances spread across the body, flowing over its surface and leaving traces of external intervention.
Stop-motion and animated drawings support this transformation.
The body is compressed and tightened, breaking down into a flesh-like state. These sequences condense processes of violence and pressure into a concentrated visual form.
In the end, the body does not remain autonomous. It moves beyond being controlled and is left as an inanimate object.
The film addresses the process through which the body becomes objectified, operates according to a manual, and loses autonomy and agency.
It adopts the format of puppetry, allowing control and passivity to be expressed directly. The body moves under external control, existing in a state that performs only assigned actions.
In this process, the body transforms.
The female form shifts across animal, flesh, and machine, gradually losing agency and becoming objectified. The body is reduced to material—an inert object, a tool, a constructed form without life.
A distorted, prison-like moving set and liquid elements attack the puppet.
The puppet is enclosed and pressed, while the body undergoes continuous deformation.
Water and viscous substances spread across the body, flowing over its surface and leaving traces of external intervention.
Stop-motion and animated drawings support this transformation.
The body is compressed and tightened, breaking down into a flesh-like state. These sequences condense processes of violence and pressure into a concentrated visual form.
In the end, the body does not remain autonomous. It moves beyond being controlled and is left as an inanimate object.
Medium
Film
Year
2024
<Film_Manual> / 00:04:08:13 / 2024 / 720 x 480
<The Elevated Sacred Power Portrait> / Mixed media / 2026
/ 1200 x 900mm
<Film_Manual> / 00:04:08:13 / 2024 / 720 x 480
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6. fabrication
In this work, fabric development operates as a process that translates the state of the body into material.
Material is not treated as a neutral medium.
It functions as a structure that exposes pressure, damage, and the remaining wounds and traces left on the body directly on the surface.
Liquid is dispersed across the fabric and settles as hardened residue, accumulating over time.
Wet conditions, viscous layers, and solidified structures coexist, sustaining a grotesque and unstable state that evokes mucus and wounded flesh.
Draped forms suggest genital structures, while loosened rope fibres combined with varnish create surfaces that resemble veins and flesh, merged and congealed in a damaged state.
Through this process, fabric no longer functions as material for clothing.
It fixes the marks of damage and preserves traces of experience, operating as a structure in which they are retained in material form.
In this work, fabric development operates as a process that translates the state of the body into material.
Material is not treated as a neutral medium.
It functions as a structure that exposes pressure, damage, and the remaining wounds and traces left on the body directly on the surface.
Liquid is dispersed across the fabric and settles as hardened residue, accumulating over time.
Wet conditions, viscous layers, and solidified structures coexist, sustaining a grotesque and unstable state that evokes mucus and wounded flesh.
Draped forms suggest genital structures, while loosened rope fibres combined with varnish create surfaces that resemble veins and flesh, merged and congealed in a damaged state.
Through this process, fabric no longer functions as material for clothing.
It fixes the marks of damage and preserves traces of experience, operating as a structure in which they are retained in material form.
In this work, fabric development operates as a process that translates the state of the body into material.
Material is not treated as a neutral medium.
It functions as a structure that exposes pressure, damage, and the remaining wounds and traces left on the body directly on the surface.
Liquid is dispersed across the fabric and settles as hardened residue, accumulating over time.
Wet conditions, viscous layers, and solidified structures coexist, sustaining a grotesque and unstable state that evokes mucus and wounded flesh.
Draped forms suggest genital structures, while loosened rope fibres combined with varnish create surfaces that resemble veins and flesh, merged and congealed in a damaged state.
Through this process, fabric no longer functions as material for clothing.
It fixes the marks of damage and preserves traces of experience, operating as a structure in which they are retained in material form.
Medium
3D - Fabrication, Fashion
Year
2024
<Fabrication> / Mixed media / 2024
<Fabrication> / Mixed media / 2024
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<Fabrication> / Installation / 2024
<Fabrication> / Installation / 2024
7. soft SCULPTURE
Soft sculpture marks the stage where the states of the body, developed across drawing, sculpture, puppetry, film, and fabric, are realised on the actual body.
In the design of the soft sculpture, the objectified female body is pushed to an extreme through deliberate exaggeration and distortion, taking on explicit and excessive forms.
The exposed wounds and traces developed through fabric combine with fragmented and hybrid silhouettes, bringing forward a language of disgust and fear.
The body appears fragmented, exaggerated, and mechanised, simultaneously shifting into flesh, mass, and cold metallic matter.
The work focuses on materially constructing a distorted and transformed body.
Draped forms directly reference genital structures.
The body is not presented as something to be protected or concealed, but as exposed and objectified. Black rods, referencing stair railings, pierce through the body and physically restrain the wearer.
Some garments are constructed around silhouettes similar to corsetry. Tightening structures and lace-up details function to restrict and fix the body.
Asymmetrical silhouettes reflect a distorted bodily condition.
The final forms stand in opposition to ideals of beauty.
The body is no longer protected or aestheticised, but remains in a state of damage and objectification.
The work originates from a personal experience but does not remain confined to a singular event.
Passivity and control are repeatedly imposed and learned, becoming inscribed within the body.
The work pushes this structure to its limit, where the body is revealed in exaggerated and distorted forms.
This excess exposes the language of oppression, producing discomfort and fear.
It prompts a renewed recognition of structures of violence and control, and shifts, paradoxically, into a language of force and agency.
The project resists trauma, internalised oppression, and control.
The unfamiliar, objectified body collides with existing perceptions and opens the possibility for reconfiguration.
Soft sculpture marks the stage where the states of the body, developed across drawing, sculpture, puppetry, film, and fabric, are realised on the actual body.
In the design of the soft sculpture, the objectified female body is pushed to an extreme through deliberate exaggeration and distortion, taking on explicit and excessive forms.
The exposed wounds and traces developed through fabric combine with fragmented and hybrid silhouettes, bringing forward a language of disgust and fear.
The body appears fragmented, exaggerated, and mechanised, simultaneously shifting into flesh, mass, and cold metallic matter.
The work focuses on materially constructing a distorted and transformed body.
Draped forms directly reference genital structures. The body is not presented as something to be protected or concealed, but as exposed and objectified. Black rods, referencing stair railings, pierce through the body and physically restrain the wearer.
Some garments are constructed around silhouettes similar to corsetry. Tightening structures and lace-up details function to restrict and fix the body.
Asymmetrical silhouettes reflect a distorted bodily condition.
The final forms stand in opposition to ideals of beauty.
The body is no longer protected or aestheticised, but remains in a state of damage and objectification.
The work originates from a personal experience but does not remain confined to a singular event.
Passivity and control are repeatedly imposed and learned, becoming inscribed within the body.
The work pushes this structure to its limit, where the body is revealed in exaggerated and distorted forms.
This excess exposes the language of oppression, producing discomfort and fear.
It prompts a renewed recognition of structures of violence and control, and shifts, paradoxically, into a language of force and agency.
The project resists trauma, internalised oppression, and control.
The unfamiliar, objectified body collides with existing perceptions and opens the possibility for reconfiguration.
Medium
3D - Soft Sculpture, Fabrication, Fashion
Year
2024-2026
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