This December, Silk Road continues in Bangkok. From 9–12 December 2026: four days of exhibitions, talks, performances, screenings, installations, private dinners, and gatherings.
Silk Road / Chapter 03 is part of the UNCONTAINED program
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DeeKay is an animator and digital artist whose looped walk-cycles and character studies use minimal form and rhythmic motion to explore routine and emotion embedded in everyday movement.
DeeKay (DeeKay Kwon) is a South Korean animator and digital artist who came to prominence through short, tightly composed animations that treat movement as both subject and structure. Before focusing on his own practice full-time, he worked for over a decade as a motion designer, including roles associated with major tech companies such as Google and Apple – experiences that trained him in timing and the persuasive logic of ‘simple’ motion.
The core of DeeKay’s visual language is restraint: rounded figures, crisp silhouettes, a controlled palette, and a loop that never quite resolves into narrative. Rather than building scenes that develop, he builds cycles. In this format, the viewer gets an endlessly interesting repetition, seeing new details each time. This is most explicit in LetsWalk, an extended walk-cycle project created with the goal of producing 100 unique characters that can coexist in a shared world. DeeKay worked on the project over roughly a year and a half (from March 2021 to October 2022), ultimately composing a final animation in which all walks share a single frame.
What’s interesting about LetsWalk is not only its recognisable and ‘cute’ surface, but mostly its procedural commitment: the walk-cycle is an animator’s basic unit, normally hidden inside commercial production pipelines. DeeKay elevates that unit into an art object, asking what happens when a foundational technique becomes the whole point – when personality is carried almost entirely by walk pattern, posture, pace, and micro-variation.
In parallel with this serial work, DeeKay uses autobiography and cultural memory as content. Some projects connected to major presentations – such as work shown on the Sphere in Las Vegas and a collection timed to Art Basel Hong Kong, were fueled by personal narrative, family references, and the emotional costs of constant production (burnout, balance, the pressure to remain ‘uplifting’). He’s not shy of showing his feelings in works that feel universally relevant.
Across different contexts – 1/1s, editioned series, auction presentations, fair and venue commissions – the through-line is DeeKay’s belief in animation as a form of thinking. Not storyboarding toward a climax, but looping toward recognition, with the sense that a single repeated action can hold mood, social texture and personal thoughts, if it’s calibrated precisely enough.