As I navigate the complexities of contemporary society, I am deeply engaged in exploring the interplay of senses and crafting a novel artistic entity through the interactions between sound and vision. My experiments, occurring at the confluence of nature and technology, are forging a new realm of art that surpasses the confines of traditional forms. This approach has been profoundly exhibited in my exhibitions 'Three Pieces' in Berlin and 'Intuition' in Iceland.

In 'Three Pieces: Untitled 2', I endeavoured to connect with the audience through a subtle visual language crafted from repetitive actions. Through this process, the audience is elevated from mere spectators to active participants in the artistic creation.

'Three Pieces: Untitled 1' features an interactive sound and visual installation utilising sensors, polycarbonate, copper, and wires, enabling the audience to uncover hidden dimensions by physically interacting with the artwork. The tactile engagement of the audience is translated through algorithmic composition into diverse visual patterns, subsequently projected onto bespoke 3D polycarbonate structures.

These experiences allow the audience to directly perceive the potential for technology to transcend its role as a mere tool and become a conduit for artistic expression. This bridging of the divide between technology and art affords each viewer a bespoke artistic experience, aiding them in discovering their own unique insights through the artwork and forging new connections with the world in which we reside.

Art transcends technological advancements to re-establish a fundamental connection with nature. Through this bond, we seek a richer and more meaningful existence. This artistic pursuit is a continually evolving journey, on which I eagerly anticipate growing, learning, and evolving alongside my peers.


Korean culture values understatement. Not always, sometimes raucous merriment, or violent vendetta, are the order of the day. But at heart, there is a still, contemplative approach to experience and expression that favours a minimal, carefully considered statement.

The term ‘Dan-saek-wha-단색화’, which means “monochrome painting,” is used to refer to the works of the post-war Korean artists, who developed a mediative, process-driven approach to sculpture and painting that paralleled the Minimalist Art being created in Europe and America at the same time.

Equally, Korean culture values industriousness and technological achievement. The myriad possibilities of a high tech future are anticipated and cerebrated. Modern materials and technical solutions are eagerly explored, and actively incorporated in contemporary Korean art practice.

Both of these creative approaches exist in equal measure in Hwan’s work.

The 3D pen drawing/sculptures grow organically out of a dedicated use of protracted time. The repetitive use of the tangible marks presents the viewer with a participatory experience reflecting on the delicacy of the process.

A similar minimal, material approach is used for the copper sculpture/drawings that act as triggers and gateways into Hwan’s sound work.

Sound is the third, and in some ways most fundamental element, that Hwan deploys in his artistic synthesis. By embedding the triggering of sound directly into the construction of the work, Hwan invites the viewer to participate in a semi-magical experience where a simple touch reveals a hidden dimension to explore.

The technical details involve circuits and wires, sensors, beam-projection and vibration speakers, that interweave with the visual aspects to form the inner workings of an object which is both musical score and performer.