The organic patterns in my work originate from bodily structures derived from my own congenital vascular malformation. This physical structure functions as an internal reference through which I perceive the world, and serves as the starting point of my visual expression. Through the experience of the COVID-19 pandemic, I began to sense society itself as if it were infected by a virus. Invisible energies—such as anxiety, fear, tension, and hope—appeared to spread beyond individuals, circulating across social space. This led me to perceive society as possessing a form of bodily responsiveness similar to that of the human body. My practice does not directly equate these sensations with social structures. Rather, it is an attempt to project the bodily qualities inherent within society—its reactions, sensitivities, and internal fluctuations— into a visual language that has been developed through the Energy Virus series. In the long-term project Energy Virus, I reinterpret the virus not as a biological entity or a threat, but as a structure through which energy is transmitted, transformed, and circulated. Moving between bodily perception and social phenomena, I aim to visualize the fluidity and instability of invisible energy within society. Up until 2023, Energy Virus focused on the theme of proliferation—the continuous expansion of energy. Since 2024, my interest has shifted toward mutation, exploring moments in which energy becomes unstable, changes form, and generates unpredictable transformations. These shifts are manifested through multilayered compositions using silkscreen printing and spray paint. The motifs of flowers and smiling faces that appear in the work are not simple symbols of brightness or hope. They represent transitional states—unstable images in which fragility and continuity coexist.