I am a stage designer focused on translating narrative and emotion into spatial experiences.
Through my academic projects, I have developed designs that integrate set, lighting, and audience perspective to support storytelling. I have also taken on lighting design roles within projects, which has strengthened my understanding of how visual elements work together on stage.
What sets me apart is my holistic approach to design, considering not just how a stage looks, but how it feels, functions, and guides the audience through the performance.
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I approach model making as an extension of my design thinking, using it to test how concepts exist in physical space.
For example, in my installation exploring global warming and the disappearance of seasons, I translated abstract ideas into a spatial journey using layered structures and light.
This process allows me to not only visualise ideas, but to understand how they function spatially and experientially.
I approach model making as an extension of my design thinking, using it to test how concepts exist in physical space.
For example, in my installation exploring global warming and the disappearance of seasons, I translated abstract ideas into a spatial journey using layered structures and light.
This process allows me to not only visualise ideas, but to understand how they function spatially and experientially.
My work spans a range of tones and audiences.
For example, Polka, a children-focused performance, was selected to be presented again in front of invited professors, demonstrating its clarity and accessibility.
In contrast, The Tempest allowed me to explore a much darker and more atmospheric approach.
This contrast reflects my ability to adapt my design language to different narratives and create distinct spatial experiences.
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