DIY
eedophone
2026
[eedophone]
I made a string instrument and named it “eedophone.”
The name combines 'ee' (이), the Korean word for “teeth/tooth” and 'do' (도), from 'jeondo' (전도 傳導), meaning “conduction.” It is inspired by the concepts of bone conduction and idiophones, bringing together the ideas of teeth, bodily vibration, conduction, and sound.
Unlike the gayageum, the eedophone allows me to play while standing, moving, and changing direction. I am interested in what happens when a body shaped through years of gayageum playing encounters an instrument of its own making.
When I play the eedophone, I imagine the Wonhwa. The Wonhwa were a group of women in Silla who preceded the Hwarang and were part of an early system for selecting and cultivating talented young people. For generations, people on the Korean Peninsula have been skilled archers.
I used Gayageum strings, Ajaeng bow, LOM Geofón, DIY waterproof piezoelectric microphone
Developed and first built during the Art Omi: Music Residency, 2026
☞ archive video
I made a string instrument and named it “eedophone.”
The name combines 'ee' (이), the Korean word for “teeth/tooth” and 'do' (도), from 'jeondo' (전도 傳導), meaning “conduction.” It is inspired by the concepts of bone conduction and idiophones, bringing together the ideas of teeth, bodily vibration, conduction, and sound.
Unlike the gayageum, the eedophone allows me to play while standing, moving, and changing direction. I am interested in what happens when a body shaped through years of gayageum playing encounters an instrument of its own making.
When I play the eedophone, I imagine the Wonhwa. The Wonhwa were a group of women in Silla who preceded the Hwarang and were part of an early system for selecting and cultivating talented young people. For generations, people on the Korean Peninsula have been skilled archers.
I used Gayageum strings, Ajaeng bow, LOM Geofón, DIY waterproof piezoelectric microphone
Developed and first built during the Art Omi: Music Residency, 2026
☞ archive video
Sound
Specter-Tradition
2026
<Specter-Tradition>
<Specter-Tradition> is a 12-minute reworking of a 3-minute sound piece originally created for the 2020 STEP by SPAF performance {Conditions of Tradition} by the collaborative performance group project.gaeng.
Project.gaeng is a collaborative team centered around four members: director and performer Kim Gi-young, and performers Kim Hae-min, Im Dong-sik, and Jo Seon-ah (myself).
2018–2021 {Streets and the Crow}, which explored how tradition exists and functions within a modern social context through street performances throughout the city
2019–2020 {Conditions of Tradition}, which presented the sociocultural conditions underpinning modern Korean tradition—as researched by a professional performing artist—through exhibitions and documentary theater
{Streets and the Crow} and {Conditions of Tradition} are projects directly related to [Specter-Tradition]. The sound sources included field recordings from the performance {Streets and the Crow}, sounds used in that performance, sounds and research materials from the performance {Conditions of Tradition}, and a live recording of the performance {Chaosmos Rhythm Chaosmos}.
By altering the timing and pitch of the sounds, I sought to evoke an image of tradition—ghostlike, having neither lived nor died—through the sensation of distorted sound. I used panning to convey the sense of the street parade in motion, delay to create an echo that reverberates hollowly, and human speech (in Korean) to suggest the discourse surrounding tradition or the feeling of various voices floating in the air.
☞ video
☞ sound
<Specter-Tradition> is a 12-minute reworking of a 3-minute sound piece originally created for the 2020 STEP by SPAF performance {Conditions of Tradition} by the collaborative performance group project.gaeng.
Project.gaeng is a collaborative team centered around four members: director and performer Kim Gi-young, and performers Kim Hae-min, Im Dong-sik, and Jo Seon-ah (myself).
2018–2021 {Streets and the Crow}, which explored how tradition exists and functions within a modern social context through street performances throughout the city
2019–2020 {Conditions of Tradition}, which presented the sociocultural conditions underpinning modern Korean tradition—as researched by a professional performing artist—through exhibitions and documentary theater
{Streets and the Crow} and {Conditions of Tradition} are projects directly related to [Specter-Tradition]. The sound sources included field recordings from the performance {Streets and the Crow}, sounds used in that performance, sounds and research materials from the performance {Conditions of Tradition}, and a live recording of the performance {Chaosmos Rhythm Chaosmos}.
By altering the timing and pitch of the sounds, I sought to evoke an image of tradition—ghostlike, having neither lived nor died—through the sensation of distorted sound. I used panning to convey the sense of the street parade in motion, delay to create an echo that reverberates hollowly, and human speech (in Korean) to suggest the discourse surrounding tradition or the feeling of various voices floating in the air.
☞ video
☞ sound
Performance
Dear Rainbow Deer
2026
【Dear Rainbow Deer】
This work is about memory. From August 13 to 31, 2026, we lived together. We taught each other songs, shared tongue twisters from our respective countries, swam together, played ping-pong, ate ice cream, made a desert and sang a song together for someone’s mother on her birthday.
Knowing that once we part ways, we may never meet again, we immerse ourselves in memories even before saying goodbye.
I created a guide track using sounds I had recorded over time. Two other members, who enjoyed recording in their daily lives, also recorded on stage. One of them connected their recording to an amplifier and played it back live.
Sharing Ice cream, Drawing
Nikki
Tongue Twister
Chanan Ben Simon, Ghazar Teknejyan
Habbit Word
Bonita Oliver, Leah King (+baking),
Ignat Khlobystin (+Beat Box), Miles Jefferson Friday
Playing Ping-Pong
Francesca Naibo, Christina Fuchs
Playing ShaKuhachi
Jeffrey Lependorf
Recording
Santiago Botero, Huichun Yang (Live)
☞ performance documentatation
☞ guide sound
☞ score
This work is about memory. From August 13 to 31, 2026, we lived together. We taught each other songs, shared tongue twisters from our respective countries, swam together, played ping-pong, ate ice cream, made a desert and sang a song together for someone’s mother on her birthday.
Knowing that once we part ways, we may never meet again, we immerse ourselves in memories even before saying goodbye.
I created a guide track using sounds I had recorded over time. Two other members, who enjoyed recording in their daily lives, also recorded on stage. One of them connected their recording to an amplifier and played it back live.
Sharing Ice cream, Drawing
Nikki
Tongue Twister
Chanan Ben Simon, Ghazar Teknejyan
Habbit Word
Bonita Oliver, Leah King (+baking),
Ignat Khlobystin (+Beat Box), Miles Jefferson Friday
Playing Ping-Pong
Francesca Naibo, Christina Fuchs
Playing ShaKuhachi
Jeffrey Lependorf
Recording
Santiago Botero, Huichun Yang (Live)
☞ performance documentatation
☞ guide sound
☞ score