《Shininho World Tour Project 2》 expands the 《Shininho World Tour》, which began in 2024, into a three-meter-tall full-body figure supported by a metal skeleton shaped like a spine. Created from a scan of Shininho, the figure dances in a floral-patterned suit of armor, appearing in midair through the holographic effect produced by a rotating LED fan. In this series, “world tour” refers to the way Shininho’s data moves across locations and devices, where it is reassembled at different scales and into new structures. The itinerant performances of K-pop idols, the voyages of pirates, and the transmission and circulation of images converge within this movement.

Far exceeding the scale of the actual human body, Shininho’s full-body figure approaches the scale of a performance, advertisement, or monument. Here, Shininho moves beyond the family portrait preserved in memory and becomes a public body that dances, travels, and circulates her own image. The floral pattern that once concealed her body among the clothing of women her age is transformed, on this monumental body, into armor as well as stage costume. The surface that once allowed Shininho to blend into a collective now becomes a flag that makes her most visible and identifiable.

Shininho’s floating figure appears ghostlike, yet it cannot exist apart from its physical infrastructure. The metal skeleton becomes an external spine, and the luminous body appears only as the motor, rotating blades, power, and video files continue to operate. The phrase “Connection precedes existence,” which appears in the work, coincides with the actual conditions of this image’s existence. When connection and operation cease, Shininho disappears, leaving only the skeleton and machinery behind. Just as the English word “fan” refers both to a rotating device and to those who support an idol, the machine’s fan generates Shininho’s body, while the tour continues through the viewers’ gazes, recordings, and acts of sharing.