Bio

Seohyo has practised a form of installation and performance-based work combining common everyday objects with media technology to render them unfamiliar, allowing us to perceive ordinary things in new ways. More recently, she has expanded her daily coding practice to generative art, which she started as a way to encourage herself during the pandemic.  She creates a variety of animations, either mathematically imagined shapes or taking inspiration from nature. 

Her works have been featured on urban billboards at the Korea National Museum of History (Seoul), Kerry Center (Hangzhou), Ten Square (Singapore), Hoog Catharijne (Utrecht), Ebisu Garden (Tokyo), and Incheon International Airport (South Korea) amongst others.  

She also has taken part in events such as Demo Festival (2022), D:Art Festival (2022), the Asia Triennial Manchester (2011), the Seoul Mediacity Biennale (2008), the Gwangju Design Biennale (2007), the Kobe Biennale (2007), the Ogaki Biennale (2006), and SIGGRAPH (2006).

Synopsis

Tidal Tessellation:  This series is perpetually evolving, much like the relentless ebb and flow of ocean tides, methodically building up layers and crafting new configurations. By employing a variety of colour palettes, each animation presents a subtly different aesthetic, influenced by the perceived sequence of colours and the effects of clustering. These forms undergo systematic transformations, gradually returning to their initial states after a series of regular changes. The cyclical nature of these group formations creates visually compelling images as they adjust their properties and rearrange themselves in response to the values generated by Perlin noise. 

Due to the intrinsic characteristics of human visual perception, which tends to group together items that are similar, identical, or proximal, these individual shapes merge visually into a single, large, dynamic movement.