O.One · EunJung Son · Visual artist, Seoul
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.
Solo Exhibition · Gallery 17717 · 2026
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.
"Within the span between the 'W' and the 'D', wood cradles the vast eons of dissolution and genesis."
IVSA International Visual Sociology Exhibition · Korea · 2025
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.
Living and artificial flowers in stacked acrylic cubes — real and fake, permanence, beauty, and perception held in one tower.
Ecological memory and technological data — tree rings, sound, and ritual percussion in poetic counterpoint.
Live flowers and electronics from the 60s–80s in the central court of Sewoon Plaza — layered temporalities of a city.
Environment-and-technology installation visualizing corporate values through plant forms, literature, and reflective surfaces.
A greenhouse built as both artwork and exhibition hall — corners of desire, mortality, and memory.
Flowers that see the world through two different eyes — diversity, difference, and coexistence.
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.