ran hwang

‘two love trees’ by ran hwang, 2009 (buttons, pins, panel)
ran hwang is a korean-born artist working in new york, who creates intricate and poetic installations.
hwang is best known for her wall sculptures that make use of common objects like buttons and crystals
pinned directly onto the wall of the gallery. using each elemnt like a pixel on a scren, hwang creates
oversized murals of birds, trees or chandeliers. her subject matter is often influenced by buddhist theories
and symbolism. hwang’s work has been described as inviting ’the viewer to engage in multiple readings
of emptiness and existence, of attempting to reach the state of enlightenment and fulfillment through the
conscious emptying of one’s mind and spirit’
http://www.ranhwang.com

‘two love trees’ by ran hwang, 2009 (buttons, pins, panel)

‘dreaming of joy’ by ran hwang, 2008 (buttons, pins on wooden panel, stainless steel)

‘dreaming of joy’ by ran hwang, 2008 (buttons, pins on wooden panel, stainless steel)

‘dreaming of joy’ by ran hwang, 2008 (buttons, pins on wooden panel, stainless steel)

‘invisibility is visibility’ by ran hwang, 2004 (buttons, pins)

‘invisibility is visibility’ by ran hwang, 2004 (buttons, pins)

‘garden of light’ by ran hwang, 2007 (pins, glass bowl, video on plexi-glass)

‘garden of light’ by ran hwang, 2007 (pins, glass bowl, video on plexi-glass)
kwang mo: ball
by placing the same image of a red ball in different contexts, all captured in the same muted, dreamy photographic style, kwang mo recalls the sensation of fleeting memories, transforming slightly in each moment.
do ho suh at lehmann maupin gallery
the series of sculptural works reflects the artist's investigation of themes surrounding cultural displacement and the co-existence of cultural identities, and how one is able to construct memory from a space.
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examining genetically modified organisms and darwin's evolutionary theory, this sculpture series uses layers of recycled tire strips to depict mutant creatures that hybridize animal and human qualities.
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