EMBODIED FORM

Embodied Form focuses on the physicality of communication and starts with cuneiform, inspired by the curiosity that comes from not being able to decode the script.

Using digital interaction, I collaborated with peers to trace and perform cuneiform characters through bodily gestures, exploring how movement and language connect. Some gestures could never fully capture the forms, and this limitation reflects the challenge of reading a written system, suggesting the qualities of an asemic writing system where meaning is open and flexible.

Special thanks to:
Jeewoo Kang

Joy Zou

Isha Lee

Digital / Publication
2025

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THE GESTURE OF DESTROYING

The Gesture of Destroying began with an interest in unreadable letters, or asemic writing, and treats text not as language but as a visual tool. In this project, letters collected from the chapter Gesture of Destroying in Vilém Flusser’s Gestures respond to the user’s hand movements, scattering and rearranging freely.

Inspired by the line, Disturbance and destruction are not evil, however, as long as they have an intention, the project explores what happens when the order and structure of language are disrupted and ignored, allowing text to operate as form and pattern rather than meaning.

Digital / Publication
2026

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SELF PORTRAIT

Self Portrait project begins with the prompt self-portrait and unfolds through performance and interaction. It started from the question: What would it mean to paint using digital tools and the body?

In this work, visual painting is generated through the person’s own movements. By positioning the digital as a mediator between the body and the act of painting, the process produces unexpected forms, embracing the pleasure of unpredictability.

Digital / Performance
2026

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MICROBE SPECIMEN

Interested in small and often overlooked details, the microscope was used as a tool to reveal new forms within the familiar. Inspired by microorganisms observed at the RISD Nature Lab, forms were explored through digital distortion, laser-printed layering, and digital magnification. This work explores how a single organism transforms through different tools and perspectives, creating new visual experiences for the viewer and new identities for the object itself.

Form
2025

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ATLAS "ON MY WAY"

Atlas is a collaborative publication by RISD Graduate Graphic Design students that began as a response to the question, Who am I? Each student explored their own interests, values, and thoughts through one of the twelve Labors of Hercules, used as shared themes and key concepts.

My page, On my way, is composed of recurring patterns found in my everyday life—repeated shadows, distinctive structures, and small fragments in my surroundings that draw my attention. I see these fragments as indirectly revealing who I am in the present, leading me to imagine what form the patterns of my life, shaped by the present moment, might take.

Collaborative Publication
2025

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FOR REFERENCE ONLY

For Reference Only is a RISD MFA Biennial exhibition that explores how graphic design is perceived and engaged with by the public from a designer’s perspective. While designers meticulously craft typefaces, forms, and details, most designs are often merely skimmed. This exhibition repurposes that social role of design to offer aesthetic enjoyment and create an interactive experience for the audience.

As a member of the brand identity team, I contributed to the motion team, focusing on experimenting with and implementing motion that aligns with the exhibition’s identity.

RISD MFA GD Biennial Exhibition
Brand Identity Team
2025

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SPIN OFF

Spin off is an indie rock music festival that captures the warm, vintage feel of records along with the gloomy yet energetic atmosphere of indie rock.

The name Spin off comes from the spinning motion of
an LP record, while also reflecting the independent nature
of indie rock music that moves away from the mainstream.
The festival presents the moment when indie music,
born from the mainstream, expands in a new and independent direction.

Visual Identity
2025

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UNSEEN FORCE

Unseen Force is a fictional exhibition exploring invisible forces and the effects of time on objects. Featuring the work of Gala Porras-Kim, it examines artifact preservation and the relationship between historical objects and contemporary conservation.

Inspired by the artist’s use of mold, the website visualizes accumulation over time: as visitors move their cursor, mold gradually builds up, and each visit increases the germ donors count, marking the viewer’s invisible impact.

Web
2025

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ANGKOR WAT

Angkor Wat is The World Heritage Identity project, which focuses on typography as a system and as an identity.

The brand design draws inspiration from Angkor Wat’s stepped architectural structure, resulting in a right-angled, stair-like form developed for both the mark and the logotype. The brand color palette is unified in a bright ochre tone, inspired by the colors of the Apsara—the celestial nymphs depicted in Hindu and Buddhist iconography at Angkor Wat.

Visual Identity
2025

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VISUAL STUDY BOOK

Visual study book explores the practice of unconscious sensation.
It captures subconscious perception and visual harmony.
Using collage and a scanner, the process focuses on intuition,
allowing forms and compositions to emerge naturally without
deliberate control.

Publication
2025

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SILENT SPRING

This project is a redesign of Silent Spring by Rachel Carson. Reflecting on the book’s exploration of how pesticides endanger the environment, the spreads begin in a quiet, restrained layout and gradually become increasingly chaotic. As the narrative unfolds, the text grows denser, tangled, and visually noisy, mirroring the escalating impact of chemical intervention on natural systems.

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Publication
2025

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DIDOT

Didot is a zine exploring the Didot typeface through chapters on its history, formal characteristics, related and derivative typefaces,
and practical applications. Each spread is designed in response to
the theme of the chapter.

Publication
2025

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CORNER

This project is inspired by selected passages from Gaston Bachelard’s The Poetics of Space, Chapter 6: Corners. It explores how typography, layout, and pacing can come together to create a narrative. Each spread visually interprets the idea of a corner, using typography as a geometric form and incorporating cut or folded elements to express the spatial qualities of edges and corners.

Publication
2024

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서하민 SEO HAMIN

This project originates from the initials SHM, continuously evolving to embrace ever-changing forms. Capturing fleeting moments, the work departs from its original shape, emphasizing the theme of endless transformation to highlight my potential in new and unexpected ways.

Visual Identity
2023

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WEB AND EL LISSITZKY

Web and El Lissitzky is a print publication that combines two of Lissitzky’s essays with examples of contemporary typography.
Drawing from my interest in internet and web art, I focused on the aesthetic connections and contrasts between Lissitzky’s work and digital practices, particularly their shared tendency to break conventional formal structures.

Publication
2025

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100 ROCKS

100 Rocks is a form study project in which 100 rocks were designed through a series of experiments. Creative forms were explored within defined constraints, such as using only color or only lines. One of the most interesting aspects of the project was how natural patterns and markings led to unexpected forms.

Form Study
2025

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NEW YEAR CARD

Print
2026

STENCIL

Form
2025

RISO ZINE

Print
2025