Her second solo exhibition, The Way Nature Stays (2025), turned its gaze toward the egrets of Bulgwangcheon, a restored urban stream in Seoul. Combining illustration, photography, and video, the works revealed how nonhuman life carves out quiet forms of persistence in artificial environments. Here, the egret became both witness and guide, suggesting another way of dwelling, where survival is not resistance alone, but a shared rhythm between city and nature.
 

This exploration continued into Zanmulgyeol (Ripples), a zine that gathers photographs, drawings, and field notes on urban birds and architectural motifs. While the exhibition traced the egret’s presence in a specific site, the zine disperses those observations into fragments, echoing how memory and ecology ripple outward beyond the gallery. Together, they form part of the Nomadic Fluidity Series, documenting overlooked relations between migration, ecology, and the city’s hidden margins.