Woven Continuum reimagines basketry as a sculptural language through welded steel frameworks and woven wire. The artist creates wire-based sculptures that explore the tension between ghostly empty forms and areas of density and looseness, investigating the boundaries between masses and non-masses where lines belong nowhere. The act of weaving functions as spatial writing, serving as an embodied method for exploring memory, rhythm, and cultural hybridity. By extending craft-based making practices into contemporary sculptural exploration, the interlacing of hands carries tactile knowledge and cultural resonance, connecting past gestures to present inquiries.

Drawing on the Korean philosophy of yeo-baek (the generative potential of empty space), alongside rhizomatic thought and phenomenology, the project positions weaving as both a material practice and a metaphor for interconnectedness. Engaging in dialogue with contemporary artists such as Ruth Asawa and Gego, the work situates itself within a tradition in which line, form, and space are dynamic, relational, and performative. By combining skeletal welded forms with organic woven growth, Woven Continuum resists fixed cultural readings and challenges binaries of craft and fine art, cross-cultural dialogues, and tradition and technology. The work invites viewers to experience cultural memory as fluid, layered, and continually reconstituted, highlighting its significance in contemporary artistic discourse.