Dr. Yiyun Kang is an artist, researcher, and visiting lecturer at Royal College of Art (London) who explores the intersection of art, technology, and experience. Kang is also a fellow of the Royal Society of Arts, UK. She received her BFA from Seoul National University’s Painting department, her MFA from UCLA’s Design & Media Arts department, and her PhD from the Royal College of Art. Kang has an international career in new media art practices and is recognized for her projection mapping installations. Her works have been exhibited in Europe, Asia and the United States, including at the Victoria and Albert Museum (V&A, London), the Venice Architecture Biennale, and the Seoul Museum of Art. She has participated in several residency programmes, including at the V&A and the National Museum of Modern and Contemporary Art, Korea. 

Kang’s site-specific installation at the V&A, sponsored by Samsung has been acquired by the museum in 2017, and her large-scale projection installation work commissioned by Italian Fashion House, Max Mara has awarded the Red Dot Award 2018 in Communication Design. Kang is recently featured in Bloomberg media group’s ‘Art+Technology’ series sponsored by Hyundai Motor group.

As a researcher, her academic writings that examine the novel characters of digital projected moving-image artworks have been published in the Leonardo Journal (MIT Press) and Practices of Projections, published by Oxford University Press (2019). She participated in several conferences and symposiums including SIGGRAPH 2018 and NEXUS Pavilion, organized by La Biennale di Venezia and European Commission, and continuously gives artist talks in the corporates and institutions, such as Foster+Partners.


The raison d'être of Kang’s work is to explore boundaries. Rather than focusing on the making of objects, her work explores the cultivation of relational environments through spatial projection mapping installations. Fundamentally, it originated from Kang’s awareness that dualistic thoughts are losing validity today as borders are constantly shifting. Through practice, Kang attempts to disrupt the opposition between a variety of concepts: materiality/immateriality, reality/virtuality, presence/absence, fact/fiction, analog/digital, art/technology, history/myth—all of which are central notions to our perceptual orientation and epistemic ordering of the world. Kang’s works do not really belong anywhere between these conflicting values; instead, her work attempts to generate mixed-reality environments, engendering perceptual ambiguity and leading the audience to reflect on this dichotomy.

Ideas often surface from the process of transporting thinking and inspiration across disciplinary boundaries. When discoveries, strategies, and practices freely move back and forth across the borders, exciting and innovative breakthroughs can occur.