Inside a 90-centimeter-wide glass aquarium, jagged stones and outstretched driftwood rise above a carpet of green aquatic plants, while schools of fish swim through the scene. What looks like a forest is not mere fish-tank decoration. It is "aquascaping"—the art of crafting an underwater ecosystem inside a tank.
A 21-year-old Korean has stunned the global aquascaping community, including the United States. Im Do-gyun, a sophomore in the Department of Aquatic Life Medicine at Kunsan National University, is a self-described aquatic-plant enthusiast. He recently took first place in the 90-220L category at the 2025 AGA International Aquascaping Contest, the most prestigious international competition in the field, beating 426 entries from 52 countries to claim the top spot in the world.
77th Out of 78: From Last Place to World's Best
He was not a prodigy from the start. Im first entered the world of fishkeeping in fifth grade. He encountered aquascaping in earnest as a high school sophomore. After watching artists build works with stones and driftwood at an exhibition, he became fascinated and began teaching himself.
His first contest result was dismal: 77th out of 78. "I couldn't grow the aquatic plants properly, and I placed too many materials, which made the tank feel cramped. That seems to have been my shortcoming," Im recalled.
That day marked the beginning of his obsession. He scoured the social media accounts and blogs of leading domestic and international artists, attended seminars and exhibitions, and asked questions directly to refine his skills. His parents, recognizing his passion, became his strongest backers, even driving him to events held in distant cities.
By his senior year of high school, even amid the frenzy of college entrance exams and applications, he stayed up nights working on his tanks. In 2023, he placed 7th out of 301 entrants from 42 countries at the KIAC, marking his first appearance in the top tier. He followed up with a Top 10 finish in the AGA 162-220L category, 6th place at ITAC, and 10th at RFLAC.
In 2024, he again surprised American judges by taking 2nd place in the AGA 80-161L category. Last year, alongside his 1st-place finish in the AGA 90-220L category, he swept top rankings at all three major international contests, including KIAC and IAPLC.
10 Months of Work, 1,200 Photos: How One Piece Comes to Life
The work that earned him the world's top spot is titled "Time of the Fading Forest." Conceived around the theme of an ancient forest, the massive X-shaped driftwood evokes a deer's antlers emerging through the trees, while the fish gliding through represent life carrying on in a vanishing forest. The central driftwood arrangement alone—on which he focused most—took more than two weeks.
The single piece took nine months to complete. He began conceptualizing and sketching in August 2024, started construction in September, planted the aquatic plants in February 2025, and shot and submitted the work in May. The saying that international contests, held only once a year, require at least six months of preparation is no exaggeration.
Because international contests are judged from submitted photographs, the photo shoot is also critical. Any visible artificial structure, such as a filter or heater, results in deductions. The schooling fish and the harmony of plant colors must all be captured in a single frame.
That is why Im avoids flashy species like guppies and bettas, which draw the eye to the fish themselves. He prefers cardinal tetras, which school and move in a single direction. "Guppies and platies move individually, which scatters the viewer's attention," he explained.
In trying to capture a single satisfying photo, he once shot more than 1,200 frames on his smartphone until the device overheated and the camera shut down—on the day of the deadline, no less. On another occasion, the fish he had raised for submission grew frightened and hid among the plants. He stayed up all night but couldn't get a single shot. Two days before the deadline, he hurried to a nearby aquarium shop, borrowed different fish, and barely managed to submit on time.
All of Nature as Inspiration: Adding Depth Through "Layers"
What sets Im's work apart? Fellow artists point to his use of "layers." He stacks driftwood and stones one by one, making the materials progressively smaller toward the back to express perspective and depth within the confined tank. Another element he attends to is making the atmosphere of the aquatic plants reflect off the side glass panels of the tank.
His artistic inspiration comes from anywhere in daily life. Whether watching a film or taking a walk, when a scene that could be adapted to an aquarium comes to mind, he immediately sketches it. His entry for IAPLC 2026, with an application deadline of the 31st of this month, was inspired by Eywa and the Tree of Souls from the film "Avatar." He hinted that the centerpiece is large driftwood with a root-like structure spreading outward from it.
He also continually learns from other artists' work. He said the piece "Reflection" by Vietnamese artist Long Tran Hoang, who ranked 4th in the world at KIAC 2025, left a particularly deep impression. The composition consisted of two enormous stones, 70-80 cm in size, held in place using only smaller stones—appearing as if they could collapse at any moment yet maintaining stable balance, which struck him as symbolic. "The sense of stability within that tension was incredibly impressive," Im said.
"I think the intent and atmosphere a work conveys are the most important. Some works have such distinct individual character that you can tell who made them just by looking at the photo, even without a name attached. I also want to apply different concepts each year and build my own artistic world."
Funded by Part-Time Wages and Allowance: Dreams of Becoming a Fisheries Researcher
The costs are not small. His first work, built in a 90-cm tank, cost about 1.1 million won. Starting with no equipment, he bought the tank and stand (200,000 won), filtration equipment (200,000 won), lighting (200,000 won), and driftwood and aquatic plants. By reusing equipment, he has now significantly reduced the cost of his most recent entry to about 400,000 won.
On a college student's budget, buying new equipment for every work is not feasible. He dismantles previous works while preparing for the next contest. Though it leaves a strong sense of regret, he said matter-of-factly, "I can make new works with those materials, so it's fine." The costs come entirely from his part-time wages and allowance. "There's nothing else I really spend on besides aquariums, so I save almost all my allowance," Im said, conveying his sincere devotion to the hobby.
His passion and skill have also captivated on-site audiences. At the 3rd 2026 Ornamental Fish and Reptile Expo, held in May at the Seoul Trade Exhibition and Convention Center (SETEC), he performed a live show on site. From 10 a.m. to 6 p.m., he broke stones and attached wood in front of visitors, showing the entire process. "Many people seemed to like aquascapes with a cave-like feel, so I built a curved cave that draws the eye from left to right," he said of his first-day work, which sold at auction for 700,000 won.
Im's ultimate goal is to work as a fisheries researcher at an institution under the Ministry of Oceans and Fisheries after graduation. The decision reflects his realistic judgment that aquascaping alone cannot reliably generate stable income. He has set aside his true ambition—opening his own aquascaping shop—until after retirement.
But he has not compromised the dreams he holds as an aquascaper. "Someday, I want to display my works in large aquarium spaces like COEX or Aqua Planet," Im said.
