Ayong Son’s move from Seoul client work to Berlin studio practice is a quiet manifesto for handmade image-making. Her daily five-drawing habit keeps ideas moving without perfectionism, while the shift from digital branding to physical paper pieces reframes craft as a lived, slow process.

Her large paper flowers sprawl across the floor with tape, sheeting and debris still in frame, turning process into subject. These are painstakingly assembled yet feel accidental, balancing precision with intuition. That unfinished quality gives the work an honesty that feels particularly resonant when every image can be reproduced.