In Heesoo Kwon’s Leymusoom Sinmok (2023), thin branches gathered from Ohlone land are suspended in midair, bearing fraying, knotted strands of hanbok and sochang fabric, wool crochet, and other inherited textiles. These remnants of female labor are entangled with discarded hardware—LED lights, cables, a computer mouse—together embodying the digital mysticism that characterizes Leymusoom, Kwon’s autobiographical feminist religion-cum-artistic universe and the namesake of her fictional serpentine creator goddess.

Born in Seoul and currently based in the US, Kwon leverages technology and archival materials to create a “metaverse-sanctuary” dedicated to the feminine Other, subverting the patriarchal dynamics encoded in Korean folkloric belief and her own Catholic upbringing.