Young In Hong
Young-In Hong attempts to bring new visibility to issues and thoughts that she believes to have not received adequate attention from the public, in an effort to express this ‘invisible space’ with art. Her works are therefore interdisciplinary and feature various mediums, and her process reaches beyond the constraints of the canvas. Hong’s embroidery work, for example, is almost undermined with that title. The works appear painterly upon distant viewing, but a closer look determines these works as three-dimensional structures, with layering and detailing that renders them highly intricate and elaborate. Beyond the aesthetic, the works often highlight political and social issues, particularly those pertaining to the areas where Hong lives and works, in Seoul and London. Pieces such as A Girl with a Slogan, see the deconstruction and criticism of political policy, here the Free Trade Agreement between South Korea and the US, a cause that Hong clearly feels a personal affinity with.
Young-In Hong also takes this social perspective outside the gallery with large-scale projects such as Where is Plin? This project investigates the disappearance of a young woman, Plin, who Hong briefly met before Plin was declared missing. Hong’s personal empathy and connection to Plin’s story led to the creation of the project, as well as its continuation – assuredly until Plin is found. In I Will Commit a Crime Forever and a Day, Hong moved her project again into the unlikely environment of a police station, and this surprising juxtaposition, despite the inherent remoteness and disparity between these two worlds, is what makes Hong’s work not only interesting, but culturally and socially important.
Young-In Hong holds a PhD from Goldsmiths College, and has participated in many solo and group exhibitions around the world. These include, ‘Playtime’ at the Culture Station Seoul 284, and ‘City Rituals: Gestures’ at the Art Club 1563, Seoul in 2012, ‘Korean Eye: Energy and Matter’ at MAD, New York in 2011, ‘Korean Eye: Fantastic Ordinary’ at the Saatchi Gallery, London, in 2010, ‘Another Masterpiece, New Acquisitions’ at the Gyeonggi MOMA, Korea, and ‘Good Morning, Mr. Nam June Paik’ at the Korean Cultural Centre, London, in 2008, and ‘Incheon Women Artists’ Biennale’ at the Incheon Culture and Arts Centre, Korea, and Particules Libres at the Cité Internationale des Arts, Paris, in 2007.