Audrey DOh

Interactive Installation

Digital Art

Community Work



    Artist Declaration —

        Audrey Doh (b. 1996, South Korea) is a multidisciplinary artist who repurposes technology as vessels for ritual, tradition, and collective meaning-making. Her work investigates enduring cultural practices, exploring how communities construct alternative belief systems when scientific measurement encounters the unmeasurable. Through sensor-based interactions, embedded systems, and projected media, Doh creates quiet, contemplative rituals that invite audiences to move beyond monolithic reality toward multiple, intersecting systems of meaning.


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    Enter, Son (2023)


    Materials
    Silver gelatin print, dried red pepper, charcoal, hanji (mulberry paper), rice straw string

    Dimensions
    8 x 10 feet

    Skills
    Darkroom photography, film developing 


    Enter, Son I. Prentis Hall, Columbia University, New York. 


    "Enter, Son" is a mixed media installation that explores cultural practices of celebration and marginalization through traditional Korean elements. The work features photograms of Korean masks worn during shamanistic ceremonies, symbolizing voices that could only surface through an uncanny, supernatural mediary. These masks transcend their symbolic origins, becoming corporeal entities—touched, cut, stretched, and transformed into a living corpus that breaks free from representational constraints.

    Excavated from their symbolic significance, these physical "beings" are positioned behind a Geumjul (禁) - a sacred straw rope traditionally hung at the entrance of a home to celebrate the birth of a son. Unlike the newborn son born into familial honor and promise of inherited lineage, these beings are activated by deeper, more complex narratives of struggle, desire, and unspoken frustration.



    The installation critically examines historical rituals by positioning these marginalized entities behind a shamanistic boundary marker that never truly protected them. Adorned with dried red pepper and charcoal, the Geumjul becomes a provocative symbol that highlights the gendered and selective nature of cultural celebration. “Enter, Son” draws urgent attention to the unacknowledged and unprotected existences that have been systematically erased from prescribed social narratives.


    Enter, Son II. 873 Studios, New York. 
    부제: 가면을 쓰고 돌아온 딸들