For reSOUND, d’strict presents OCEAN, featuring a large-scale video installation depicting vast, surging dark waves that seem to engulf everything before them. This installation offers visitors a powerful, hyper-realistic immersive experience, enhanced by an expansive sonic landscape created in collaboration with Jang Young-gyu, a pioneering figure in Korean indie music as well as a noted composer, music director, and producer.

Transito is a large-scale light installation created in collaboration between the architecture studio Space Encounters and Children and Light. First presented during the 2018 Salone del Mobile, it drew inspiration from Milan's renowned Neoclassical landmarks, translating their distinctive symmetry and order into an architectural yet sculptural form. Appearing endless, with no beginning or end, waves of colored light unsettle the viewer’s sense of space and weightlessness, shifting between the impression of an infinitely deep black hole and complete absorption into light, suggesting infinity and timelessness. The soundtrack, which seamlessly accompanies the artwork’s visual and spatial experiences, was composed for the glass harmonica. Using only the frequencies of the visual spectrum, the visual elements are converted into sound. Transito employs light as a sculptural medium to dissolve pillars, passageways, and ultimately the entire space into liquid architecture.

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Breathing Room is a tactile, immersive textile installation that evokes the atmosphere of a traditional Japanese moss garden. Set in an infinity room lined with mirrors, its undulating landscape blurs the boundaries between inside and outside, object and environment, furniture and terrain to achieve a visually expanded space. The artwork, Lee’s largest to date, employs wool fiber, a material Lee has worked with for many years and long associated with domestic labor and caretaking, as both medium and conceptual framework, transforming it into a sculptural conduit for exploring ideas of interiority, cultivation, and artifice. The fluid forms appear natural, like moss enveloping rocks and roots, yet are the result of meticulous planning that echoes horticultural logic: shapes that seem organic but are highly mediated by human intervention. In an increasingly disembodied visual culture, Breathing Room emphasizes interdependence, softness, and spatial intimacy, restoring sensations that can be physically experienced.

Boundless Body transforms a twelve-foot wooden bench into a threshold between the individual and the universal. Visitors sit side by side, feeling a poem through synchronized vibrations that ripple through their bodies, guided by a narrator’s voice. Sensations shift fluidly—from molecules to heartbeats to earthquakes—sparking an uncanny recognition of experiences both new and deeply familiar. Built on the logic of touch, the work uses vibration as its language, moving through free associations that bend perception across time and scale. The voice leads listeners into a boundless body that recalls everything: the ricochet of a pinball, the legs of a centipede, the gravitational pull of the moon, the simple pleasure of walking on a beach. As vibrations pass through strangers seated together, individual boundaries blur. Boundless Body proposes that beneath our separate skins lies a deeper connectivity: participation in the vibrational fabric of existence itself.

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Tactile Orchestra is an interactive installation composed of soft, furry surfaces that responds to touch, inviting viewers to discover orchestral sounds as they stroke and explore it. By engaging with the surface as an instrument, visitors can work together to create a symphony. The artwork was further developed into Kozie, a medical project for dementia and Alzheimer’s patients. Kozie was developed based on scientific data showing that sounds and music can revive fading memories and strengthen an individual’s ties to their immediate surroundings.

ECHO features ‘Kinetic Sound,’ a dynamic integration of a soundscape derived from black hole observation data and light installation. Light, cast by a centrally placed moving sodium lamp and sound, played through an eight-channel system, recreate the movement of energy around a black hole, an otherworldly experience that evokes the mysteries of astrophysics and disorients one's bearings. The work spatially embodies the immense gravitational distortion of a black hole, as well as physical theories including the Doppler effect and general relativity, which are translated into a sensory experience from the perspective of photons, the smallest particles of light. ECHO briefly transports the viewers into a realm far removed from everyday reality, immersing them in the extreme warping of space-time around these scientific phenomena.

Tall Stack Lamp, inspired by three basic shapes, the pyramid, sphere, and cube, is a playful exploration of the balance and tension among color, pattern, material, and shape. This unusual architectural structure is more than a simple stack of shapes: it reveals Bigeleisen’s knack for capturing the ephemeral as well as her intuitive visual language. This artwork has a cement base with an untreated surface and a hand-dyed fringe shade that, as the artist notes, “creates a soft, diffused light,” enhancing its sculptural presence.

Petal Collection is a three-piece cement table series—Marguerite, Floro, and Helia—that blurs the boundary between the table as a functional object and a fluid abstraction of a flower. Each piece inspired by the repetitive, organic yet geometric structure of a flower in full bloom, visualizing both stability and lyricism through variations in scale and symmetry. Through layers of soft color and form, this series explores how repetition can evoke softness in a solid medium of cement.

Fortune Chair was part of the Creature Comfort collection released in 2020 and the first digital model series created by Jumbo. A witty take on the fortune cookie’s folded form, it was inspired by Lee and her family’s first encounter with fortune cookies in a Chinese restaurant soon after emigrating from Taiwan to the United States. It is designed for both indoor and outdoor use, with over 25% made from post-consumer plastic. Unlike most chairs, it has vertical symmetry, meaning that it can be used even when turned upside down. The simplified structure encourages users to see the chair as not only furniture but a fun, toy-like object.

FLOW, which premiered at Outernet in London in 2024, has been enthusiastically received in diverse settings, including Culture Station Seoul 284 and CGV’s ScreenX with its three-sided screen experience. It will now be presented in the United States for the first time at HERO in Rockefeller Center. It reinterprets the flow of art history through the characters' symbolic dance movements, unfolding a narrative about the relationship between "the world and the self" within a continuous timeline. The 5.1-channel sound, created in collaboration with award-winning Australian composer Tristan Barton, enriches the immersive rhythm of the characters and the scene transitions.

Spiraling into Infinity II is a large-scale light installation born from a free and spontaneous gesture, devoid of any predetermined purpose. Created in 2022 to celebrate Children of the Light’s solo exhibition at Paradise Row in London, it is part of the Spiraling into Infinity series. Reminiscent of a freely drawn sketch in which energies of light intertwine and dance, the work was developed in collaboration with the internationally acclaimed creative studio Alexander Whitley Dance Company. It generates a constantly shifting circuit of light, with speed, form, color, and brightness cycling automatically. Visitors can change the light sequence by pressing a button, experiencing a sense of participation in the artwork and connection with another entity through energy. The original soundscape, created in collaboration with composer Jakob Lkk, amplifies the spatial sensations and, thereby, heightens audiovisual immersion.