Jeong Hur / 허정
b. Seoul, South Korea, based in Brooklyn
Jeong Hur is an artist working with pine wood, hanji, pigment, and light. His work has been exhibited across the United States, Europe, and Asia. He received his MFA from the School of Visual Arts, New York.
Statement:
Photography begins with light, not as subject, but as condition. Light does not depict; it makes something possible or withholds that possibility. My practice starts from this premise and refuses its usual conclusion. Rather than fixing light into an image, I construct the conditions in which light lingers, resists, and remains undecided.
I build frames using pine wood and hanji. The frame is not a border. It is a threshold, structural and unstable at once, neither fully wall nor window. Hanji does not transmit or block light cleanly; it holds it in suspension, softening the boundary between inside and outside without resolving it. Carved wooden elements interrupt any complete opening or closure. The structures lean, press, or rest against surfaces. They do not stand on their own terms.
This in-between state is not a failure of resolution, it is the work itself. I am interested in perception as something shaped by friction, weight, and resistance rather than transparency. Seeing, in this sense, is never neutral. It is always negotiated through the conditions that frame it.
My background in photography is not a point of departure I have left behind. It is the conceptual ground I continue to work from, the understanding that framing is never innocent, that light is never simply given, and that the moment of fixing is always a choice about what gets held and what does not.
I do not fix that moment. I stay with what comes before it.
CV
Email: jeonghur0314@gmail.com
Instagram:@jeong.h.something
b. Seoul, South Korea, based in Brooklyn
Jeong Hur is an artist working with pine wood, hanji, pigment, and light. His work has been exhibited across the United States, Europe, and Asia. He received his MFA from the School of Visual Arts, New York.
Statement:
Photography begins with light, not as subject, but as condition. Light does not depict; it makes something possible or withholds that possibility. My practice starts from this premise and refuses its usual conclusion. Rather than fixing light into an image, I construct the conditions in which light lingers, resists, and remains undecided.
I build frames using pine wood and hanji. The frame is not a border. It is a threshold, structural and unstable at once, neither fully wall nor window. Hanji does not transmit or block light cleanly; it holds it in suspension, softening the boundary between inside and outside without resolving it. Carved wooden elements interrupt any complete opening or closure. The structures lean, press, or rest against surfaces. They do not stand on their own terms.
This in-between state is not a failure of resolution, it is the work itself. I am interested in perception as something shaped by friction, weight, and resistance rather than transparency. Seeing, in this sense, is never neutral. It is always negotiated through the conditions that frame it.
My background in photography is not a point of departure I have left behind. It is the conceptual ground I continue to work from, the understanding that framing is never innocent, that light is never simply given, and that the moment of fixing is always a choice about what gets held and what does not.
I do not fix that moment. I stay with what comes before it.
CV
Email: jeonghur0314@gmail.com
Instagram:@jeong.h.something