Gyun Hur 허 견
Gyun Hur is an interdisciplinary artist and an educator whose experience as an immigrant daughter deeply fuels her practice. Gyun recently completed Stove Works Residency, Bronx Museum AIM Fellowship, and Danspace Project Writer-in-Residency. She is the inaugural recipient of The Hudgens Prize. Her works have been featured in Hyperallergic, The Cut, Art In America, Art Paper, Sculpture, Art Asia Pacific, Public Art Magazine Korea, and more. Her interest in art making in public space led her to various artist presentations at the TEDxCentennial Women, Living Walls: The City Speaks, The Hong Kong Polytechnic University, The New School, and many others. Gyun has contributed as an artist-writer in fLoromancy, The Brooklyn Rail, and The Forgetory.
Born in South Korea, she moved to Georgia at the age of 13. She currently lives in Brooklyn and teaches at Parsons School of Design.
Born in South Korea, she moved to Georgia at the age of 13. She currently lives in Brooklyn and teaches at Parsons School of Design.
I construct visual and emotional spaces where diasporic narratives of loss and beauty reside. Installations, performances, drawings, and writings become a collection of autobiographical abstraction and figurative storytelling. In the menial labor of accumulating and transforming materials, I ask what holds us together: stories, yearnings, rituals, and spirituality.
Our (in)capacity to hold ambiguity fascinates me. My floor installations with hand-shredded silk flowers remain untethered to the surfaces they illuminate. My formalistic investigation of beauty holds fragmented stories and materials intact, shifting through the violence that formed the contexts of my diasporic history. Articulation of unspoken experiences, acts as poetic incitement for narratives at the periphery.
I have collected and hand-shredded silk flowers forten years now as my primary material. Their artificiality defies decay, complicating my work in relation to the fragile nature of life. The process of turning these silk flowers into pigment is all done by hand. Imbuing the petals through and with t unforgiving labor, I alter its origins, form, and value, a transfiguration of my bodily memories.
River water and glass have entered my practice as new, centering elements. I am intrigued by the movement of the river and how it is teaching me a choreography of grief while generating life. In my childhood memories, rivers were sites of mourning, washing, and rejoicing. In the larger context, rivers hold ecological memories of abundance, eradication, borders, and power.
Most of my works are generated from my life and the prompts that sites or spaces provide for me. I am curious about how one’s intimacy can come in contact with the public. The work then can hold these soft, communal yearnings and memories. As introspection and spectacle overlap in my work, I hold this belief that empathetic vulnerability, protected and sustained, can take place while experiencing my work.
Our (in)capacity to hold ambiguity fascinates me. My floor installations with hand-shredded silk flowers remain untethered to the surfaces they illuminate. My formalistic investigation of beauty holds fragmented stories and materials intact, shifting through the violence that formed the contexts of my diasporic history. Articulation of unspoken experiences, acts as poetic incitement for narratives at the periphery.
I have collected and hand-shredded silk flowers forten years now as my primary material. Their artificiality defies decay, complicating my work in relation to the fragile nature of life. The process of turning these silk flowers into pigment is all done by hand. Imbuing the petals through and with t unforgiving labor, I alter its origins, form, and value, a transfiguration of my bodily memories.
River water and glass have entered my practice as new, centering elements. I am intrigued by the movement of the river and how it is teaching me a choreography of grief while generating life. In my childhood memories, rivers were sites of mourning, washing, and rejoicing. In the larger context, rivers hold ecological memories of abundance, eradication, borders, and power.
Most of my works are generated from my life and the prompts that sites or spaces provide for me. I am curious about how one’s intimacy can come in contact with the public. The work then can hold these soft, communal yearnings and memories. As introspection and spectacle overlap in my work, I hold this belief that empathetic vulnerability, protected and sustained, can take place while experiencing my work.
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