"Operating at the the overlap between art and technology is an almost universally used expression, frequently brought up to characterize the work of digital artists Vague and widely employed, true, yet this is precisely where South Korean media artist Inhwa Yeom finds the greatest liberty.
"I don't think you should have to choose between learning one or the other," says Yeom. "They're both just forms of expression."
For Yeom, both "new" and "old" come with their own set of challenges. She states, "I prefer not to refer to myself as a 'new' media artist at all." According to her, there shouldn’t be an opposition between old and new media since technology evolves constantly.
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Aside from her artistic endeavors, Yeom also works as a researcher and founded BiOVE, a biotech and bioart startup. Her objective with this venture is to enhance access to medical treatments, rehabilitation services, therapies, and creative learning opportunities using technologies like extended reality (XR) and AI-driven interactive systems.
Yeom is currently in Hong Kong for "Future Tense," which commenced at the Hong Kong Arts Centre on March 1st. This exhibition delves into less familiar narratives. Hong Kong's cultural heritage Re-envisioned for the future, incorporating the impacts of societal changes, climate alteration, and city expansion.
The origin of this project stems from the way we create or modify these narratives according to our recollections," explains exhibition director Ray LC. "This exhibit isn’t focused on technology; rather, it’s centered around the process of safeguarding cultural legacy and tales. Technology serves as a medium through which we convey our visions for reshaping the future, much like what you will observe in Inhwa’s creations—she employs visuals to explore potential futures.
Yeom discusses exploring the area where art intersects with technology, examines both positive and negative aspects of AI, and emphasizes that the viewer takes center stage in her creations.
What motivated you to incorporate technology into your art?
My fascination with technology stemmed from wanting to gain deeper insights into the works of South Korean artist Nam June Paik. While pursuing my master’s degree in art history, I focused my thesis on him. As a trailblazer in the arts, Paik foresaw how technology would shape our world, portraying it as an unending flow of concepts, data, and visuals long before the advent of the internet. To truly grasp his contributions, I believed it essential to understand the core principles of technology.
I completed a governmental vocational training program in computer programming. Following that, I embarked on my master’s degree in Culture Technology at KAIST, concentrating on augmented reality (AR) and virtual reality (VR).
In your work, how do you juggle between scientific and artistic aspects?
I’ve consistently struggled with my sense of self due to internal conflicts regarding whether I should focus on both art and technology. Although the South Korean government advocated for blending these two domains, this concept didn’t hold up in practice. During my studies in technology, pursuing artistic interests wasn’t supported. Interdisciplinary approaches weren’t encouraged either.
Following my time at KAIST, I pursued a PhD in bioengineering and worked as a clinical researcher at Seoul National University Hospital. My studies focused on this area during that period. Augmented reality and virtual reality technologies for surgical procedures Specifically, in tools utilized during surgical procedures, and for broader medical applications. This pertained to a PhD program from which I withdrew midway due to limited opportunities for experimentation and autonomy in my research. The lack of creative space made me feel stifled. Nonetheless, technology serves as an instrument for bringing my ideas to life. To me, artificial intelligence represents a medium, and I consider myself a dedicated artist.
At what point and for what reasons did you begin utilizing artificial intelligence?
In 2022, when ChatGPT-3 was released, there was significant buzz around it in technological circles. This prompted me to try experimenting with it as well. Midjourney as well , which has actually greatly enhanced my visualization.
In what ways do you incorporate it into your professional activities?
I mainly use it for image and video generation It serves as a tool. Understanding precisely what needs to be entered to obtain the desired outcome remains crucial. This aspect is still under experimentation. Occasionally, this can lead to issues. For instance, entering "Asian" might yield images of young women with characteristics associated with K-pop, entirely contrary to my intentions. This mirrors broader problems within both the model’s design and societal biases.
What aspect of artificial intelligence worries you the most?
As an individual who uses generative AI, I am quite worried about the increasing costs of these products. Being merely a consumer, you lack the ability to influence the technological advancements behind them. You're essentially left to use what's available without having any say in how it evolves. This situation raises concerns for many like myself. capitalist hierarchy This influences the way you develop your personal visual vocabulary.
What XR and art professionals motivate you?
Lauren Lee McCarthy — she serves as a professor at UCLA (University of California, Los Angeles) and developed the p5.js programming language. Qianqian Ye also works as a media artist. Similarly, Ayoung Kim does so too. Her dedication to detail in creation is something I greatly appreciate. Each individual focuses significantly on thorough research and meticulously documents their processes, enabling deeper reflection upon one’s personal projects. Both Lauren and Qianqian have been influential guides for me. The nature of their work is notably revolutionary and politically charged.
What about your contribution in "Future Tense,"? Becoming Human-Fish What aspects of Hong Kong's cultural heritage should we consider?
This is an experimental video created with generative AI, drawing inspiration from saunas, spas, and hot springs. It is part of a larger collection and builds upon a previous work within this series. Sauna Lab (2024) is set in Daejeon, often referred to as the "Silicon Valley of South Korea." The city is also famous for its hot spring culture, although numerous hot springs are vanishing due to urban renewal projects.
The second installment in the series, Flowers of Hot Spring In 2024, this piece explores comparable themes and takes place in Hualien, Taiwan—a location known for its hot-spring culture. It is a setting rich with indigenous wisdom and experiences. This, being the third installment, Becoming Human-Fish In 2025, the story takes place in Hong Kong and delves into themes of indigenous myths through the character Lo Ting, often portrayed in regional literature and arts—a being that is both man and fish. An article from Korea described tiny bits of plastics found in oceans as the weepings of mythical sea people. This report stemmed from approximately 150 tons of waste materials that reached Hong Kong’s shores following Typhoon Vicente in 2012. Perhaps these fantastical beings might serve well as symbols when tackling environmental issues such as global warming in Hong Kong. My approach has consistently been to tailor my creations according to their specific exhibition locales.
Your installations explore bio-colonial themes. Could you specify what kind of colonial narratives you're examining and explain your reasons for focusing on them?
We find ourselves in a postcolonial era, yet different types of colonization persist. My focus lies on those driven by scientific and biological motives with significant cultural repercussions. Take, for instance, what happens in South Korea—where they bring in women from other parts of East Asia, including Russia, to reside there and bear children due to falling birth rates—a contemporary form of colonization. On a larger scale, my aim is to incorporate varied viewpoints and identities into the tech sphere. I wish to create platforms where individuals can strengthen their personal identities.
You delve into performativity and inter-performativity as interactions develop among participants and their surroundings. This significance lies in understanding how these dynamics shape our experiences and engagements with the environment around us.
The viewers take center stage within this creation. What truly counts is their sentiment and portrayal. This statement also highlights the performative nature of the framework I developed. It underscores how contemporary human behavior, activities, and engagements have become acts infused with technology.
In the realm of art, performance signifies an act of expressing oneself, but in technology circles, it refers to the efficiency with which something operates. I appreciate the various interpretations this term encompasses.
What do you mean by the "3D performative apparatus-environment"?
I utilize integrated 3D interactive technologies, which I refer to as a "digital apparatus." When combined with non-digital elements such as furniture, these form installations or settings that act akin to stages for experiencing performance art.
What message would you like your viewers to carry with them after experiencing your work?
What I aspire to achieve is for them to feel confident in their identity. As a child, I would often take part in performances on stage. However, as I grew up and began noticing how others were observing me, I developed anxiety towards performing live. This is why incorporating stages into my creations is important to me.
In South Korea, there’s a term for individuals who exude great confidence when performing on stage—“stage-material.” My aim is for the audience to sense that they possess this quality as well.
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