Jeong Hur / 허정
b. Seoul, South Korea, based in Brooklyn
Based in Brooklyn, Jeong Hur is a Seoul-born artist whose practice examines how perception is shaped—opened, filtered, or obscured—through the boundaries that frame daily experience. Beginning in photography and time-based media, his earlier work explored how images shift across processes, from darkroom techniques to digital collage and sculptural experiments. That interest in mediation has since expanded into a material practice grounded in wood, hanji paper, pigment, and light.
Hur’s recent works construct slender wooden frames layered with translucent hanji, forming window-like structures that hold and diffuse light rather than depict it. These frames hover between interior and exterior, presence and disappearance—inviting viewers to look through, but never fully into, the space they offer. Hands often emerge in carved or implied gestures, reaching toward or drawing away from the frame, suggesting the human impulse to grasp memory, distance, or the moment just beyond view.
Rooted in both Korean hanji traditions and the visual language of Western architectural grids, Hur’s structures explore what can be sensed but not fully seen. They consider how boundaries protect and restrict, how light reveals and conceals, and how perception is always a negotiation between what we recognize and what escapes us.
Hur received his MFA from the School of Visual Arts in New York and has exhibited across the US, France, Germany, China, Japan, and Korea. His work continues to explore the fragile thresholds between presence and absence, and the shifting conditions through which we understand the world.
CV
Email: jeonghur0314@gmail.com
Instagram:@jeong.h.something
b. Seoul, South Korea, based in Brooklyn
Based in Brooklyn, Jeong Hur is a Seoul-born artist whose practice examines how perception is shaped—opened, filtered, or obscured—through the boundaries that frame daily experience. Beginning in photography and time-based media, his earlier work explored how images shift across processes, from darkroom techniques to digital collage and sculptural experiments. That interest in mediation has since expanded into a material practice grounded in wood, hanji paper, pigment, and light.
Hur’s recent works construct slender wooden frames layered with translucent hanji, forming window-like structures that hold and diffuse light rather than depict it. These frames hover between interior and exterior, presence and disappearance—inviting viewers to look through, but never fully into, the space they offer. Hands often emerge in carved or implied gestures, reaching toward or drawing away from the frame, suggesting the human impulse to grasp memory, distance, or the moment just beyond view.
Rooted in both Korean hanji traditions and the visual language of Western architectural grids, Hur’s structures explore what can be sensed but not fully seen. They consider how boundaries protect and restrict, how light reveals and conceals, and how perception is always a negotiation between what we recognize and what escapes us.
Hur received his MFA from the School of Visual Arts in New York and has exhibited across the US, France, Germany, China, Japan, and Korea. His work continues to explore the fragile thresholds between presence and absence, and the shifting conditions through which we understand the world.
CV
Email: jeonghur0314@gmail.com
Instagram:@jeong.h.something