O.One · EunJung Son · Visual artist, Seoul

A dot between 0 and 1.

It must have been in my childhood, when I first encountered the concepts of terminating and infinite decimals. When asked how many points existed between 0 and 1 on a number line, the answer — infinitude — struck me with profound shock and wonder. How could an infinite number of points densely, flawlessly occupy their places within this simple, visible span between 0 and 1?

Perhaps that very wonder was the beginning, the process, and the ultimate conclusion of my inquiry as an artist.

My work is rooted in finding the place of existence within things that appear utterly ordinary: daily life, the common citizen, nature, and time. I observe and express the rhythm of existence — its creation, communication, convergence, obsolescence, and whatever follows after.

Bringing together technology and art to map these hidden infinities is my work, and the very reason for my existence.

link up · latest: 나무사유 Namusayou, solo exhibition, Gallery 17717, 2026

Featured Works

Installation · Living matter · AI
W00d 00 — Time (Tree, I and Me): piles of branches surrounding a 4×4 grid of wooden panels, Gallery 17717
W00D — Touch Wood: acrylic cubes holding moss and circuit boards beneath a suspended tree W00d 10 — B100M in ZIP: canvas bags with Saekdong stripes and Seoul ZIP codes, holding flowers

Solo Exhibition · Gallery 17717 · 2026

Namusayou 나무사유 — Tree Thoughts

Mixed media · wood, moss, circuit boards, scent, tea, mahjong tiles

An exhibition that reads the tree as a vast, organic processor — a Universal Intelligence whose memory and connection exceed any AI conceived by man. Its rings are a chronological archive; to "touch wood" is a primordial data exchange of 0s and 1s between the human heart and the universe.

The five works are numbered in binary — an engineer's counting system applied to the oldest storage medium on earth. Scent (rose, frankincense, sandalwood), tea, and a four-digit PIN become keys that retrieve personal memory from the tree's archive, the way an API key unlocks data from the cloud.

  • W00DTouch Wood
  • W00d 00Time (Tree, I and Me)
  • W00d 01Under the Table with Olive Branch
  • W00d 10B100M in ZIP — Birth and Material Code in Blooming
  • W00d 11Tree TeaR

"Within the span between the 'W' and the 'D', wood cradles the vast eons of dissolution and genesis."

Mirror, Mirror on the Wall — visitors interacting with the mirror installation at the IVSA exhibition
Mirror, Mirror on the Wall — full installation view: mirrors, moss beds, circuit boards, and acrylic cubes on soil

IVSA International Visual Sociology Exhibition · Korea · 2025

Mirror, Mirror on the Wall Between Attention and Intention

Mixed media, interactive · 9700 × 4300 × 2400 cm

A large-scale interactive mirror installation on algorithmic attention and intention. Viewers meet their own reflection inside a landscape of soil, moss, dismantled machines, and AI-generated concepts — and are asked: when the algorithm looks back at you, whose intention is in the glass?

The work extends a question that runs through my whole practice: attention is the raw material of both love and the attention economy. Between what we look at and what looks at us, a new kind of reflection is forming.

Selected Works

2016 — Present

Writing & Film

Books · Cinema

Books

  • 27 Cuts: A Camera That Captures DreamsEssays Dongnyuk · 2010
  • Talkative FlowersEssays from six years as a florist D.View Books · 2015
  • Walking ThoughtsEssays Thinking Station · 2021
  • Does Mr. Lloyd Dream of Electric Orgasm?AI film, co-director — invited to Busan International AI Film Festival Film · 2024

About

Statement · Biography
O.One's hand-drawn signature — two circles and a curve reading 'A dot between 0 and 1'

Technology is not the opposite of nature. It is one more way life learned to connect.

O.One (legal name Son, Eun Jung; b. 1977) is a Korean artist whose practice explores the intersection of technology and nature, with a deep focus on the essence of life and humanity. Blending living organisms — moss, flowers, wood — with the objects of machines and artificial systems, her work reflects on the organic relationships that arise between human beings, technology, and the natural world.

Her path is itself the artwork's first material: an engineering degree, then more than twenty years inside the global technology industry — Cisco and AWS, across Seoul, Singapore, the U.S. and Europe — alongside a doctorate in technology policy. This rare dual perspective, technical expertise and artistic sensitivity, informs a body of work that questions how technological systems become organically embedded in our lives: not separate from nature, but a form of interaction and co-existence.

She studied floral design at the Catherine Muller Flower School in Paris and ran her own flower and art atelier. The emergence of artificial intelligence has further catalyzed her practice — appearing in recent works both as a tool and as a conceptual subject, a lens on the shifting dynamics between humans, machines, and ecosystems. She is also a poet and essayist, with three published books on the delicate intersections of memory, emotion, and everyday life.

Selected exhibitions

  • 2026나무사유 Namusayou (Tree Thoughts) — Solo, Gallery 17717
  • 2025Mirror, Mirror on the Wall — IVSA International Visual Sociology Exhibition, Korea
  • 2024Busan International AI Film Festival — invited co-director
  • 2023TEA Time, Museum Wave, Seoul — with Alan Sonfist, Gediminas Urbonas, Xin Song
  • 2023ISH Expo, Frankfurt — with LG Electronics
  • 2022The Odd-Eyed Flowers — Solo, Banjul Gallery
  • 2020–Flower vs. Flower — permanent installation, Starfield Anseong
  • 2018The Florist's Room — Solo, Krikindi Center
  • 2017SIDiF — Seoul International Festival, group invitation
  • 2016Re-Built Sewun (Crossing the River of Time) — Solo installation, Seoul City

Education

  • Ph.D.Technology Policy, Yonsei University
  • MBAKAIST
  • B.E.Mechanical & Electronic Engineering, Yonsei University