Previously, I worked on what could be considered the most essential part of a CV: the artist statement. As I still feel that it has areas that need improvement, I plan to continue refining it over time. For now, I will move on to other components.
The first section to consider is education. Listing where and what I have studied is not simply about presenting my academic background, but about showing the context in which I have developed my practice and how it has influenced my current work. My educational background can be divided into two main stages: studying classical composition in high school, and studying sound art in London.
While studying classical composition in high school, I learned composition, harmony, ear training, piano, analysis, and Western music history. However, I need to consider how these skills relate to the direction I have chosen now. My current and future direction is clearly not within classical composition. Although I cannot say there is no influence—given that much experimental music is historically rooted in Western classical traditions—it does not seem that the specific technical skills I learned in high school are directly relevant to my current practice. Moreover, since the field of classical composition already implies a certain set of skills, it may not be necessary to describe them in detail. Therefore, I think it is sufficient to simply list the school and major for this stage.
My university studies in sound art require a different approach. While classical composition implies a relatively defined curriculum, sound art is much more diverse, and specialisation within it varies significantly. Therefore, it is important to indicate which areas I have focused on. Additionally, given that undergraduate study emphasises exploration across various approaches, I should highlight the areas most relevant to my intended direction. In this context, I can specify sound installation, experimental sound practice, and performance.
Based on this, I propose the following format:
- Classical Composition, Kaywon High School of Arts (2017–2020)
- BA Sound Arts, London College of Communication, University of the Arts London (2023–2026, expected graduation June 2026)
– Focus on sound installation, system-based practices, and experimental performance
I think this structure works well: listing the institution, field of study, and time period, and then briefly indicating my focus under the university degree. I did consider adding more detailed descriptions, but I believe that more specific information can be communicated through the portfolio. Since a CV is typically skimmed rather than read in depth, it should remain concise while still presenting a broad overview of what I do and what I am capable of.
The second section is selected works. While not strictly mandatory in a CV, relying solely on an artist statement may not fully convey my practice, so briefly introducing a few selected works is important. The question then becomes which works to include. While the quality of the work is important, it is equally important to show a range of approaches. It is also worth considering how each work has influenced my current thinking.
From the perspective of my primary focus—mechanical sound installation—Speakers can be Players can be seen as a starting point. The second work is Existence and Temporality, which was my first interactive piece. Through this work, I began to understand the importance of audience engagement, and it also marked a point where I recognised the significance of metaphor in my practice. Since both of these works are sound installations, it is necessary to include a work with a different character. For this reason, I plan to include Tied Relation. This was my first performance work, through which I learned a great deal about applying aesthetic practice, and it also connects closely with relational aesthetics, a key area in my research.
Although I consider my current project, Lives of the Infamous, to be my most developed work, I do not plan to include it at this stage, as it is still in progress and can be understood as an extension of earlier works.
1. Speakers can be Players (2024)
Sound installation repositioning speakers as active performers rather than passive sound outputs.
2. Existence and Temporality (2025)
Interactive sound installation translating philosophical notions of being and temporality into sonic experience.
3. Tied Relation (2025)
Performance video exploring inter-human relationships through relational aesthetics.
I have written brief one-line descriptions for each selected work to keep them concise. However, I feel that these alone may not be sufficient to fully convey each piece, so I am considering adding a few additional sentences.
For now, I will stop here and continue developing other sections next time.