Persephone's Flowers
Persephone's Flowers" is an ongoing photographic project that explores the growing entanglement between humanity and technology, positioning artificial intelligence and digital systems as a new kind of underworld. Drawing on the myth of Persephone, the goddess condemned to spend part of her life in the underworld, the project examines how people are gradually being pulled away from nature and into artificial, controlled environments. Through a blend of mythological narrative and contemporary reality, "Persephone's Flowers" is a poetic reflection on the deepening divide between the natural world and the technologically driven spaces people now inhabit.
The project's primary focus is on how technology and artificial intelligence (AI) are not just replicating, but replacing, nature. Shot in South Korea's subterranean spaces—sprawling subway stations, underground malls, indoor amusement parks and other frequented public and cultural spaces—the project draws parallels to the myth of Persephone, the goddess condemned to live half her life in the underworld. Just as Persephone was torn between two realms, people are increasingly spending their time in these artificial, controlled underground environments, choosing digital ecosystems over nature.—places where people increasingly spend their time. These environments are both physically underground and metaphorically representative of an underworld, mirroring Persephone's descent. Just as Persephone was torn between two realms, people today are caught between the organic beauty of the natural world and the allure of artificial, digital ecosystems.
At the heart of "Persephone's Flowers" is an examination of the role AI and technology play in shaping modern life. Just as Hades ruled the underworld in Greek mythology, technology now rules many aspects of human life. People are increasingly drawn into digital ecosystems, where they interact with artificial intelligence on a daily basis. From social media algorithms to automated customer service bots, AI is becoming an integral part of human experience. "Persephone's Flowers" explores the implications of this shift, asking whether humanity is willingly entering this new underworld or whether they are being drawn in without fully understanding the consequences.
The project also questions the sustainability of this relationship. As technology continues to evolve, the boundary between the natural and the artificial becomes increasingly blurred. Artificial intelligence is not only replicating aspects of the natural world but also replacing them. For example, AI-generated art and simulations of nature, such as virtual reality environments, are becoming more common, offering people digital experiences that mimic real-world phenomena. "Persephone's Flowers" raises important questions about what is lost when people choose these simulated experiences over genuine interactions with nature.
Persephone’s Flowers is an ongoing body of work exploring the thresholds between digital immersion and human presence — the places where our attention drifts away from the living world and into the luminous pull of the screen. South Korea emerged as a central focus for this project because it stands at the forefront of global digitisation. With some of the world’s fastest internet speeds, widespread smartphone use from early childhood, and a culture that prizes technological innovation, South Korea embodies both the promises and perils of hyperconnectivity.
In recent years, this digital saturation has given rise to growing concerns around technology addiction, particularly among younger generations. Excessive gaming, constant social media engagement, and near-constant screen exposure have been linked to escalating rates of anxiety, depression, social withdrawal, and disrupted sleep patterns. Recognising the severity of the issue, the South Korean government has pioneered initiatives such as digital detox camps, counselling programs, and national policies aimed at reducing screen dependence and fostering healthier digital habits.
These concerns are not isolated to South Korea. Similar patterns are emerging across other highly connected Asian countries, including China and Japan, where governments are also grappling with the psychological, social, and public health impacts of widespread tech dependence. This regional landscape — where technological advancement and human wellbeing exist in a state of tension — provides a fertile context for Persephone’s Flowers, where the project will eventually extend.
Through this work, I am drawn to examine what is being lost in the rush toward constant connectivity, and what might yet be recovered. The project asks what becomes of our inner worlds when the boundaries between human experience and digital existence blur, and whether beauty, stillness, and presence can be reclaimed amidst the noise.
