Hongnonoke works as an art worker and image researcher. His practice revolves around the depiction of faith. He is particularly interested in those stages in life and those moments when faith is taking shape: ritual, memory, and the ambiguous space of dreams, where faith is continuously negotiated. Hongnonoke uses slide projectors as an opportunity to explore the act of seeing in depth. Pared down to essentials, his works often remain hidden in the darkness yet demand a visceral engagement. They unfold gradually, much like the pupil adjusting to light, drawing the viewer into a state of prolonged perception. Rather than offering immediate recognition, they create a space of suspension where time is stretched, representation is unsettled, and the unseen is given weight. Focusing on the experience of mundane life, his installations revisit the intangible, the invisible, and the inaudible, using projection as a medium to reconsider the thresholds of presence and absence.


A recent project, developed in dialogue with his thesis, "After Fifth Cinema: how to Imagine an Island" (2024), explores islands and their imagery as sites of layered cultural memory and myth. Hongnonoke's engagement with images as transitional space in this series underscores his pursuit of an alternative visual language, one that actively participates in reshaping historical and collective narratives.

Born on Island Taiwan, Hongnonoke studied for a Master of Fine Art in Photography at Bard College and the International Center of Photography in New York, USA (2020). He then continued his education at the Royal Danish Academy of Fine Arts in Copenhagen, Denmark (2022), and earned a Master of Fine Art at the Dutch Art Institute (2024). He is now based between Berlin and Taipei.