Zoonomia represents an imaginative investigation into how things might have evolved if events had followed a slightly different trajectory, allowing for hybrids of existing organisms, the return of extinct species and unpredictable motivations, interactions and outcomes.

Teenage boy Seong-hyun sets out on a journey with his grandmother Byeong-hee, who suggests leaving without revealing a destination. However, their car breaks down, preventing them from starting their trip. At that moment, the TV installed in the car broadcasts a mysterious performance titled "Performance No. 19190301." As the show begins, Seong-hyun and Byeong-hee embark on a journey through the history of Korea's past.

In a dystopian future, exiled Kung Fu master Big Sister 13 leads a gang of trans and queer fighters who reclaim a forgotten zone and transform it into the Martial Forest—a secret training ground where care is as powerful as combat. Together, they fight to survive rising violence and build a future rooted in chosen family and trans resistance.

A young wife loses her pregnancy—then the rest of her body—after moving to a suburb run by a strangely ritualistic mothers’ group.

Marie-Hélène, my mother, is retiring and takes with her her memories, her anxieties and the mental burden of having raised three children while working full time. As she works her last shift as a home nurse, her thoughts jostle and harmonize in a whirlwind similar to a panic attack.

Ale, a frustrated artist, seeks solace in Carlos, but their codependent relationship hides a secret: self-harm. As they delve into their passions, they discover those scars hold a unique bond only they understand.

“These Yellow Stars of Ours” is an experimental documentary film chronicling two individuals fleeing war-torn Vietnam, falling in love, and the subsequent inheritance of diaspora bestowed upon their two sons.

An inner hurricane summons errant images and drifting fragments of time, dragging them toward a threshold that resists form. A voice, part invocation, part echo, emerges from within the storm. Between the lived and the imagined, memory disintegrates and reconfigures, not to be understood, but to be felt. This is a ritual of passage: where chaos becomes a kind of language, where what is lost is not retrieved, but transformed, and what dies, opens.

As a recursive, never completed practice of genre subversion, the work belongs somewhere in the middle, in the void, in the failed attempt to pin down some objective reality. The video was collaborative, improvised and completed in one take. I provided performers with costumes, a location and a prompt. A couple lives in a haunted house and is visited by a priest who attempts to exorcise the home. We subjected cliches to reality and saw what happens when real people do their best to negotiate an unfamiliar circumstance. The house played an important role as it represented an iconic cliche and a part of the colonial imaginary. Researching the house I learned that, although built in the 18th century, it had been renovated to look more modern, then stripped again, in later years, to look original. However its lost original furnishings were replaced with fake and decontextualized period objects. The house itself became the exercise in memory I attempted to tell through the story. An eternal recurrence, a recycling of memory with no end or definite beginning and no concrete reality.

Social Media Delivers People is a video art piece that critically examines the role of social media in the commodification of users. Drawing inspiration from Richard Serra and Carlotta Schoolman’s 1973 work Television Delivers People, this piece reimagines the critique for the digital age, exposing how social media platforms transform users into products for advertisers. Through a blend of AI spoken text, calm visuals, and bland corporate motivational instrumental music, the video reveals the unseen mechanics of surveillance capitalism—where engagement is monetized, data is harvested, and attention is the ultimate currency. Social Media Delivers People confronts viewers with their own complicity in a system that trades connection for profit. The work serves as both a warning and an invitation to reclaim digital agency, urging audiences to rethink their participation in the social media economy.

An ancient monster emerges from the “Old Faithful” geyser at Yellowstone, attacking an artist doing a residency and wreaking havoc in Jackson Hole.

Shot from miniature hand-made paper and cardboard models and sets combined with video sequences, the monster, Satyrius Marinus, from a seventeenth century engraving, comes back to life and bursts from an “Old Faithful” calendar image, surprising a tour bus full of Asian tourists among others. An innocent artist is accosted while taking a shower by this terrifying beast with a wicked sense of humor, as Donald Trump`s victory speech plays on her laptop.