Born Seoul, Korea
Lives and works in Providence, RI

SOLO & TWO PERSON EXHIBITIONS:

2012, Jamestown Art Center, Inhabitat 2, Jamestown, RI
2011, Buonaccorsi Agniel Gallery, Inhabitat, Providence, RI
2009, Mountain Fold Gallery, Growl Fowl, NY, NY
2005, Gallery Agniel, Underbelly of Dream Sprouted from White Bean Yellow Bean, Providence, RI
2004, Deborah Berke & Partners Architecture, LLP, Chunko & Miss Fanny, New York, NY

SELECTED GROUP EXHIBITIONS:

2014, Cinders Gallery, Decade of Decadunce, New York, NY
2014, Sol Koffler Gallery, Textiles Department MFA Biennial, Providence, RI
2014, Carpenter Center for the Visual Arts, Harvard University, Living As Form (The Nomadic Version),Boston, MA
2013, International Print Center New York, New Prints 2005/ Winter, New York, NY
2013, Rhode Island School of Design Museum, Locally Made, Providence, RI
2013, Cinders Gallery, Dirty Fingers, New York, NY
2013, F.L.A. Gallery, Dirty Fingers, curated by Cinders Gallery, Long Island City, NY
2013, Re. Surgo, Dirty Fingers, curated by Cinders Gallery, Berlin, Germany
2013, Lorimato Gallery, Friends with Benefits, Queens, NY
2012, Arlington Art Center, Ctrl: P, Arlington, VA
2012, Beginnings Gallery, Patterns, Marks, Repetitions, Patterns, Brooklyn, NY
2011, NEXT Chicago Art Fair, Exhibiting with Cade Tompkins Projects, Chicago, IL
2011, Cade Tompkins Projects, Printed in Providence, Providence, RI
2010, Providence Art Club, Extreme Scale, Providence, RI
2010, Imago Gallery, 2010 RISCA Fellowship Exhibition, Warren, RI
2010, Open Space Gallery, Puss Fest, Baltimore, MD
2009, Waiting Room Gallery, Spirit Assembly, Curated by Cinders Gallery, Tokyo, Japan
2009, Aqua Art Fair, Exhibiting with 5 Traverse Gallery, Miami, FL
2009, 101 Tokyo Contemporary Art Fair, Exhibiting with Mountain Fold Gallery, Tokyo, Japan
2008, Aqua Art Fair, Exhibiting with Mountain Fold Gallery, Miami, FL
2008, Stairwell Gallery, Jackals and Jerks, Providence, RI
2008, RVCA Gallery, Fairfax and Haight, Curated by Marsea Goldberg, San Francisco, CA
2007, Aqua Art Fair, Exhibiting with Cinders Gallery, Miami, FL
2007, Cinders Gallery, Early Worm Gets the Bird, Jungil Hong, Brian Chippendale & Kevin Hooyman, Brooklyn, NY
2007, Ad Hoc, Secrets of Woonasquatucket River, Brooklyn, NY
2007, Andreas Melas Gallery, Macronauts- Curated by Dan Nadel
Installation By: Paper Rad, Brian Chippendale, and Jungil Hong, Athens, Greece
2007, Julie Chae Gallery, Blow Me Away, Boston, Mass
2007, DeCordova Museum and Sculpture Park, The 2007 DeCordova Annual Exhibition, Lincoln, Mass
2006, Museum of the Rhode Island School of Design, Wunderground: Providence 1995-Present, Providence, RI
2006, Aqua Art Fair, Exhibiting with New Image Art Gallery, Miami, FL
2006, International Print Center New York, Exhibition of prints at The Armory Show 2006, New York, NY
2006, Newport Art Museum, RISCA 2005 Fellowship Recipients, Newport, RI
2006, New Image Art Gallery, 70 more artists to be announced, West Hollywood, CA
2006, Gallery Agniel, Brian Chippendale, Jungil Hong, Noah Lyon and Paper Rad, Providence, RI
2006, Space Gallery, WORKNOT: Jungil Hong, Erin Rosenthal, Beth Nixon, Sarah Crall and Rover Nomad, Portland, ME
2005, Contemporary Art Center MASS MoCA, Li’l Rhodies, North Adams, MA
2005, New Image Art Gallery, P Towns: Philadelphia & Providence, West Hollywood, CA
2005, Space 1026, Full Fathom 5: Megan Biddle, Jungil Hong, Jenny Nichols, Erica Svec & Annette Wehrhahn, Philadelphia, PA
2005,Museum of the Rhode Island School of Design, Chazan’s Choice: works from the permanent collection, Providence, RI
2005, International Print Center New York, New Prints 2005/Winter, New York, NY
2004, Florsitree Space, Feels Heavy, Baltimore, MD
2004, A.I.R. Gallery, Generations ‘04, New York, NY

EDUCATION:
2015, Rhode Island School of Design, MFA Textiles
1999, Rhode Island School of Design, BFA Ceramics

It has yet to be determined whether Jungil Hong is an artist or a swarm of birds. It is far more likely that a thousand beaks, each carrying one brightly colored scrap of paper, pasted these collages together with their spit, like a hive of paper wasps. If there are people in these turbulent landscapes, they still forage and work in packs, armored in chain mail as if they were drawn by something that couldn't imagine skin without the articulation of scales or feathers.

It is true that there is an armored head and a hand, fitted with chain mail, hanging on the wall. These may be parts of the hunting costume worn by whoever collected the strange trophies preserved in glass boxes, or they may be the head and hand of a metal scaled being, culled and hung here as trophies themselves. There is also the patterned metal shield, like a chink out of the armored sky. Even these things, human in scale, are made of small metal rings and thin, stamped discs, each one of which could be carried in a curled and precise claw, to be linked and sewn together into an approximation of human form.

It's as though this hive of birds collected strands of every element in their world and spliced them together into this patterned place, like a crow's nest found in the rafters of a yarn factory. This pattern isn't decoration. It is the stuff that this world is made of. Here, the roots of trees hang like chandeliers out of dark and electric clouds. Birds peer through windows that look out onto different days, float in boxes filled with inverted landscapes, or fly through the hiss and crackle of the frenetic sky beneath the floorboards. Inside a workshop, trees and tools are grown, each in their own cell, like larva.
There is the suspicion that this room is inside one of these collages. There is the suspicion that the patterns that make up the fire flooded mountains and the lightening laced ground have shifted their dimensions to configure this room, like a single cell of a bee hive, magnified to the scale of an apartment building and opened to visitors. Sometimes these patterns lay flat, to serve as walls. Sometimes they shift and open, giving way onto a patch of place or time.

There may be a dark and spreading cloud, moving across the topographies hung on the walls. If it is some fog of decay, swallowing all it surrounds, it is also a billowing, black soil that the things of this place are grown from. If the crows that have made this place, dream of the storm gathering, they also dream of the fevered potential of doom.

-Jenny Nichols

Born Seoul, Korea
Lives and works in Providence, RI

SOLO & TWO PERSON EXHIBITIONS:

2012, Jamestown Art Center, Inhabitat 2, Jamestown, RI
2011, Buonaccorsi Agniel Gallery, Inhabitat, Providence, RI
2009, Mountain Fold Gallery, Growl Fowl, NY, NY
2005, Gallery Agniel, Underbelly of Dream Sprouted from White Bean Yellow Bean, Providence, RI
2004, Deborah Berke & Partners Architecture, LLP, Chunko & Miss Fanny, New York, NY

SELECTED GROUP EXHIBITIONS:

2014, Cinders Gallery, Decade of Decadunce, New York, NY
2014, Sol Koffler Gallery, Textiles Department MFA Biennial, Providence, RI
2014, Carpenter Center for the Visual Arts, Harvard University, Living As Form (The Nomadic Version),Boston, MA
2013, International Print Center New York, New Prints 2005/ Winter, New York, NY
2013, Rhode Island School of Design Museum, Locally Made, Providence, RI
2013, Cinders Gallery, Dirty Fingers, New York, NY
2013, F.L.A. Gallery, Dirty Fingers, curated by Cinders Gallery, Long Island City, NY
2013, Re. Surgo, Dirty Fingers, curated by Cinders Gallery, Berlin, Germany
2013, Lorimato Gallery, Friends with Benefits, Queens, NY
2012, Arlington Art Center, Ctrl: P, Arlington, VA
2012, Beginnings Gallery, Patterns, Marks, Repetitions, Patterns, Brooklyn, NY
2011, NEXT Chicago Art Fair, Exhibiting with Cade Tompkins Projects, Chicago, IL
2011, Cade Tompkins Projects, Printed in Providence, Providence, RI
2010, Providence Art Club, Extreme Scale, Providence, RI
2010, Imago Gallery, 2010 RISCA Fellowship Exhibition, Warren, RI
2010, Open Space Gallery, Puss Fest, Baltimore, MD
2009, Waiting Room Gallery, Spirit Assembly, Curated by Cinders Gallery, Tokyo, Japan
2009, Aqua Art Fair, Exhibiting with 5 Traverse Gallery, Miami, FL
2009, 101 Tokyo Contemporary Art Fair, Exhibiting with Mountain Fold Gallery, Tokyo, Japan
2008, Aqua Art Fair, Exhibiting with Mountain Fold Gallery, Miami, FL
2008, Stairwell Gallery, Jackals and Jerks, Providence, RI
2008, RVCA Gallery, Fairfax and Haight, Curated by Marsea Goldberg, San Francisco, CA
2007, Aqua Art Fair, Exhibiting with Cinders Gallery, Miami, FL
2007, Cinders Gallery, Early Worm Gets the Bird, Jungil Hong, Brian Chippendale & Kevin Hooyman, Brooklyn, NY
2007, Ad Hoc, Secrets of Woonasquatucket River, Brooklyn, NY
2007, Andreas Melas Gallery, Macronauts- Curated by Dan Nadel
Installation By: Paper Rad, Brian Chippendale, and Jungil Hong, Athens, Greece
2007, Julie Chae Gallery, Blow Me Away, Boston, Mass
2007, DeCordova Museum and Sculpture Park, The 2007 DeCordova Annual Exhibition, Lincoln, Mass
2006, Museum of the Rhode Island School of Design, Wunderground: Providence 1995-Present, Providence, RI
2006, Aqua Art Fair, Exhibiting with New Image Art Gallery, Miami, FL
2006, International Print Center New York, Exhibition of prints at The Armory Show 2006, New York, NY
2006, Newport Art Museum, RISCA 2005 Fellowship Recipients, Newport, RI
2006, New Image Art Gallery, 70 more artists to be announced, West Hollywood, CA
2006, Gallery Agniel, Brian Chippendale, Jungil Hong, Noah Lyon and Paper Rad, Providence, RI
2006, Space Gallery, WORKNOT: Jungil Hong, Erin Rosenthal, Beth Nixon, Sarah Crall and Rover Nomad, Portland, ME
2005, Contemporary Art Center MASS MoCA, Li’l Rhodies, North Adams, MA
2005, New Image Art Gallery, P Towns: Philadelphia & Providence, West Hollywood, CA
2005, Space 1026, Full Fathom 5: Megan Biddle, Jungil Hong, Jenny Nichols, Erica Svec & Annette Wehrhahn, Philadelphia, PA
2005,Museum of the Rhode Island School of Design, Chazan’s Choice: works from the permanent collection, Providence, RI
2005, International Print Center New York, New Prints 2005/Winter, New York, NY
2004, Florsitree Space, Feels Heavy, Baltimore, MD
2004, A.I.R. Gallery, Generations ‘04, New York, NY

EDUCATION:
2015, Rhode Island School of Design, MFA Textiles
1999, Rhode Island School of Design, BFA Ceramics

It has yet to be determined whether Jungil Hong is an artist or a swarm of birds. It is far more likely that a thousand beaks, each carrying one brightly colored scrap of paper, pasted these collages together with their spit, like a hive of paper wasps. If there are people in these turbulent landscapes, they still forage and work in packs, armored in chain mail as if they were drawn by something that couldn't imagine skin without the articulation of scales or feathers.

It is true that there is an armored head and a hand, fitted with chain mail, hanging on the wall. These may be parts of the hunting costume worn by whoever collected the strange trophies preserved in glass boxes, or they may be the head and hand of a metal scaled being, culled and hung here as trophies themselves. There is also the patterned metal shield, like a chink out of the armored sky. Even these things, human in scale, are made of small metal rings and thin, stamped discs, each one of which could be carried in a curled and precise claw, to be linked and sewn together into an approximation of human form.

It's as though this hive of birds collected strands of every element in their world and spliced them together into this patterned place, like a crow's nest found in the rafters of a yarn factory. This pattern isn't decoration. It is the stuff that this world is made of. Here, the roots of trees hang like chandeliers out of dark and electric clouds. Birds peer through windows that look out onto different days, float in boxes filled with inverted landscapes, or fly through the hiss and crackle of the frenetic sky beneath the floorboards. Inside a workshop, trees and tools are grown, each in their own cell, like larva.
There is the suspicion that this room is inside one of these collages. There is the suspicion that the patterns that make up the fire flooded mountains and the lightening laced ground have shifted their dimensions to configure this room, like a single cell of a bee hive, magnified to the scale of an apartment building and opened to visitors. Sometimes these patterns lay flat, to serve as walls. Sometimes they shift and open, giving way onto a patch of place or time.

There may be a dark and spreading cloud, moving across the topographies hung on the walls. If it is some fog of decay, swallowing all it surrounds, it is also a billowing, black soil that the things of this place are grown from. If the crows that have made this place, dream of the storm gathering, they also dream of the fevered potential of doom.

-Jenny Nichols