Hyon Gyon, 2016, acrylic on canvas. Detail view, reads 'Culture is not a luxury, it's a necessity'. Photograph: Sophie Arni
Hyon Gyon's studio in NYC, 2016. Photograph: Sophie Arni
Hyon Gyon in her studio, NYC, 2016. Photograph: Sophie Arni
Hyon Gyon, painting detail. Photograph: Sophie Arni
Hyon Gyon, 2016, acrylic on canvas. Photograph: Sophie Arni
Hyon Gyon's studio in NYC, 2016. Photograph: Sophie Arni
Walk into gallery, 30th street. K-town.
Blacked-out entrance, mirroring a reflection
of my confused self. Knock on the door, gallerist
smiles. Mr. Shin, a young elegant Korean man,
welcomes me into a small dim lit black box.
An installation in the middle. Interesting -
but wait, what are those paintings on the wall?
"Culture is not a luxury” I read.
Mr. Shin kindly completes my sentence.
"It's a necessity."
I pause. I’m liking this, a lot.
Turns out the painter is Hyon Gyon (b. 1979, Seoul),
a South Korea-born, Japanese-educated, New York-based
artist. She was inspired by the cult movie about the
rise and fall of Dr. Dre's and Ice Cube's N.W.A.
rap group Straight Outta Compton for
this series. If that is not enticing enough as an
introduction, Hyon has a PhD from the prestigious
Kyoto University of the Arts and her works are amongst
the collection of the Brooklyn Museum alongside other
many private and public collections. Armed with an
immense skillset, a rare creative energy that is
contagious as much as it refreshing, and in tune with current
American cultural trends, Gyon doesn't disappoint.
In fact, she raises the bar higher for what it
means to be a painter, an artist, a Korean woman
artist in 2016.
Known for her use of shamanistic
iconography, her early canvases were filled with
energy, mythologies, fantastical faces of euphoric despair.
Since she moved to NYC and adopted many new influences
into her work, she uses a lot of text in her paintings
and branched out into installations of various found
objects and fashion design.
A global artist, well suited for Global Art Daily.
A day later, thanks to her generous Shin Gallery,
I have the pleasure to visit the artist studio
located in between right at the edge between the
gallery-filled Lower East Side and the vibrant
Chinatown. Accompanied by Mr. Shin, she shows me
around and poses in front her works on the ground
floor. The upper floor is reserved as living
quarters. We sit down with succulent watermelons.
Sophie Arni: Thank you for opening the doors
of your studio. This space is incredible! Two floors,
large open spaces. And this beautiful signage, on point.
Hyon Gyon: (laugh) Yes, I recently moved in.
S.A.: First off, what made you gravitate towards your
preferred mediums? You have a formal training in
painting and I see that your canvases become quite
sculptural at times. You use treads, cotton, hair
and other types of materials on your 2D works. For
the 3D, you tend to work with found objects? Tell
me about your process.
Hyon Gyon: Yes, I like to use textiles a lot in my paintings.
I actually used to work at a Korean traditional dressmaker
atelier, where I learned about the different types of silk
and thread that exist. Then, me being me – I wondered what
would happen if I burned some pieces with a lighter. I
liked this effect, so I used the technique for a series of painting.
About my installation, you can call them sculptures – I
buy everything from second-hand shops. If something catches
my eye, I buy it, and I use it in some way.
S.A.: And New York City’s thrift shops… you must be in heaven.
Hyon Gyon: I adore the thrift shops or dollar shops around
Chinatown especially. You find the most random things.
S.A.: You’re a sculptor, painter. I sense that this
multi-mediacity plays a large role in your practice. Do you
plunge in other mediums as well? Video, for example?
Hyon Gyon: Yes actually. Let me show you, a video I produced while
I still living in Japan. I spent 9 years there in total,
and as you pointed, I diversified the mediums I used.
I don’t want to be limited with only one medium.
Gyon shows me her video on her Macbook. The video was
in line with her pop culture, bright colors, mixed media,
found objects aesthetic. It was a compilation of footage
of her eating a massive amount of fast and greasy food.
Cream and udon noodle soup together, if you dare to imagine.
Gyon attacks common sense in in this powerful video of food
ingurgitation followed by rejection. A complicated web
of influences, whether socio-political or more
psychological, shape this work.
S.A.: What a video. Reminds me of Mike Kelley.
Hyon Gyon: I really enjoy his work, although at this point of time, I had no idea who he was.
S.A.: Well let me rewind for a minute, I see so many
influences in your work - such an spectrum of themes and
cultural references you have, it's really wonderful.
Your early works dealt with shamanism and Korean folktales
for starters. How did you go from traditional Korean mythologies
to West Coast rap?
Hyon Gyon: That's the question many
people have. They like to ask on the violence of my work,
which can seem very frustrating sometimes.
People understand shamanism as performances
and mystical rituals. That’s not the point. A shaman is
someone who heals. It’s someone who helps you express
your negative energy out. So when I watched Straight
Outta Compton, I felt the anger, the oppressed energy
of these rappers. I felt it so deeply, it really moved me.
I think rap is much more than music. Rap acts like the
shaman to release all that compressed energy. It’s all
about purifying the soul. So I was interested in shamanism
while in Asia, you can say I am finding new shamans
S.A.: Rappers as shamans. I love it.
Tell me more about your years in Japan.
How did that influence your work?
Hyon Gyon: I lived in Kyoto, which is a very traditional
city compared to others. I think that the geishas you still see
in the streets, the many Buddhist temples, zen gardens
all had an impact on me, and on my works. I was particularly
inspired by the gold-leaf painting technique of the screen
Nihonga paintings. So I used gold on my paintings, and loved the effect.
Being in Japan was eye-opening, transformative. I also
made the switch there from oil to acrylic painting.
S.A.: When you came to NYC, you didn’t speak
English right? Did you feel tied to your Korean roots?
Were you looking for a Japanese community here?
Or you decided to 'go global'? (laugh)
Hyon Gyon: NYC is international city and I don’t
feel tied to a certain nationality group here at all.
I hang out with artists, wherever they are from.
Latinos, Europeans, it doesn’t matter too much.
I like this close knit community. And I get to
hang with my compatriot Shin when I want to
Yes, it was difficult to adjust at first. Coming
to New York was one of the scary moments of my life.
But now that I’m here and have access to a whole
new cultural world – I feel blessed. I am made of culture.
I find words and caption that inspire me on Instagram
and then add them to my paintings. And English is such
a powerful language. There are just some things you
S.A.: Very interesting. And last question, I
noticed that you started painting on blazers and khaki
pants. How do you feel about fashion and art intersecting?
Do you think you might continue creating more of these works?
God, [looking at a painted Louis Vuitton bag laying on the table],
this is beautiful. Wow!
Hyon Gyon: Fashion was actually my first trajectory.
It’s funny how I ended up in art. I was accepted and getting ready to enroll in Bunka
[the fashion school that taught Rei Kawakubo,
Yohji Yamamoto and Kenza amongst others].
But I didn’t come from a wealthy family, and Bunka is a private school. The tuition was just too high – so I applied to
public, free universities. I was suprised and honored I got accepted at Kyoto, and the rest is history.
I started out designing chima jeogori and now I’m painting shamanistic faces unto Zara blazers.
Life is transformative this way, but I enjoy the direction my
work is going. I want to expand. There is so much potential with fashion and painting - this intersection interests me a lot.