The artist has long focused on how individuals coexist with the digital world in today’s information society. In his work, Spectres of the Bitstream symbolizes not only the rhythm of data in motion but also the shifting state of perception between the virtual and the real. The designer translates this abstract concept into spatial and typographic language: in the posters and exhibition identity, a deep black background evokes the vastness of the universe, while Chinese and English typography are interwoven, creating layered intersections on the two-dimensional plane that embody the elusive presence of the bitstream.
Within the exhibition space, dot-like and fluid visual motifs extend across walls, corners, and wayfinding systems, allowing visitors to sense the oscillation and circulation of information as they move and observe. The overall visual language resonates with the Eastern philosophy underlying Korea’s monochrome painting tradition, while transforming it into a contemporary system of visual symbols. By reinterpreting the bitstream, the exhibition offers audiences an immersive perceptual experience that traverses the boundary between the virtual and the real.
