Behind Closed Doors is an installation focused on a vision of the future connected through the metaphorical ‘light’ of social media, a source of hope and interrelation but also fear. The work reflects tensions of intimacy and connection in the media age – an era where our lives, identities, and relationships are filtered through the illusion of social networks. A translucent screen, crafted from a bamboo frame and mulberry paper, evokes the traditional door of a Korean hanok that was envisioned as a barrier between a family’s personal life and the intrusive outside world. The rips in the screen are reminiscent of an age-old game played by Korean children, filled with fervent curiosity and innocence, poking holes in the hanji doors exposing the secrets of supposedly private interior. The children of 2024, who still possess this jovial naivety, now have unprecedented access to the deceptions of social media; thus the evocation of a playful, infantile practice is met with a sinister undertone as a polychromatic montage of grotesquely photoshopped images and news reports of the detriments of plastic surgery are projected onto the screen. The rips, while representing curiosity, also take on a double meaning as they speak to the fractured perceptions of internet personas. A certain interaction between the viewer and the work is thus encouraged as they are invited to peer through the holes, mimicking the fascination of those young Korean children. However, as they look closer and circumambulate the screen, the clarity of the light projections morph and distort, symbolizing the notion that one’s online presence is not always what it seems. Therefore, in Behind Closed Doors, light not only facilitates the viewer’s relationship to the work, but it also serves as a testament to the interconnected web of relations made possible through digital platforms, yet the semitransparent materials suggests the effect of a concealed identity, implying the façade of online connections.