《Floral Camouflaging》 and 《Floral Camouflaging Kit》 originate from an incident in which Yaloo gave her maternal grandmother, Shininho, a piece of clothing without a floral pattern. Shininho rarely wore it. When Yaloo asked why, she explained that among women of her generation, clothing without floral patterns actually made her stand out more. The large pink and red flowers that appeared conspicuous to the artist were, for Shininho, an ordinary surface through which she situated herself within the everyday dress of her peers.

The artist collected numerous swatches that were actually circulated in fabric markets and fed them into early generative AI models, configuring the process so that the outputs generated by different models were subsequently reintroduced as training data for one another. The resulting images, through their repetitive arrangements of color and structures reminiscent of petals, initially appear from a distance as familiar floral patterns. As one approaches, however, this recognition gradually becomes uncertain. Some forms retain recognizable floral structures, while elsewhere the connections between petals and stems become disrupted, giving rise to shapes resembling the organs, shells, eyes, or tentacles of unfamiliar creatures. The imperfect joins produced by the early models generate forms that cannot be identified as any particular plant, while nevertheless preserving the structural elements necessary for the image as a whole to be perceived as a floral pattern.

The generated patterns are produced in modular units measuring 20 × 20 cm. At the entrance, 《Floral Camouflaging》 gathers the images densely across a wall on which the manifesto of the Siren Server is silkscreened like a corporate slogan. A metal bar in front divides the viewer’s field of vision at regular intervals, making the overall installation resemble both a promotional façade displaying image samples and a security gate. Separated from this arrangement and dispersed throughout the exhibition space, the individual fragments form 《Floral Camouflaging Kit》. Identical in form and dimensions, each fragment appears variously as a painting, textile, sign, or part of an installation, depending on its height, spacing, and proximity to surrounding objects. Within the exhibition grammar of each location, the same form is thus read as a different kind of object.