Priscilla Jeong
Bio: Korean-American artist Priscilla Jeong’s exposure to cross-culturalism accelerated her desire for visual language that communicates the nuanced ways that nature, human emotions, technology, architecture, ephemerality, organics and synthetics intersect and mutate one another.
As a living document and a body that serves as an apparatus, Jeong establishes hybrid continuity and fictional narratives to explore reconstruction of the material relationships to the world into objects and the physical objects as cultural artifacts that do not reinforce divisive national histories or national narratives for temporality and exchange.
Priscilla Jeong (b. 1990, Bryan, TX) is based in New York, NY. Jeong was a recipient of The Andrew Fisher Fellowship and The Choy Family Fellowship in 2020 and 2021. Her solo presentation includes exhibitions at Interstate Projects, NY and Ryan Lee Gallery, NY.
www.priscillajeong.com
Instagram: @priscillajeong
Thesis Exhibition
Artist Statement: The recent body of work plays an important role in navigating and connecting external space to interior geography within the arena of my interest, through which the art of stages and processes evolved from ephemeral and mnemonic theater manifested into museological and technical archives.
Having worked as a set designer prior to pursuing my time at Columbia, I was fascinated by the ephemerality of sets that are staged and constructed under high production and its drastic contrast between what is being seen in front of the camera and is hidden.
As flattened experience of artworks rises and forces the spectator to interact with work that solely exists in documentations via screens, I imagined what axis and depth of a single line in the frontal view of the 2-D diagram could manifest in a physical space where the body could physically co-exist in the space with the work activating the hidden view of the obtusely wide monolithic column from one angle or the other.
At once memoir, dystopian fiction, cultural and social criticism, my work metaphorically intersperses personal experience and history with tracts on art and literature and historical and current events in a bundle of narratives manifesting on the monotony of irritation and ugly feelings eclipsed by more baroque emotions in the collective consciousness built from the sediments of everyday experience and the irritant of having one’s perception of reality constantly questioned or dismissed.
L to R: Workers of Five point Chamber: Red 3 (Rice), (108" x 80" x 42," Wood, steel, aluminum, brass, acrylic, foam, thermoplastic, paint, PVC, 2021); Workers of Five Point Chamber: Intermission 1, (35" x 62" x 17," Cabinet, steel, aluminum, velvet, acrylic, PVC, artificial flower, roots, 2021); Workers of Five Point Chamber: Red 2 (Hex 3), (60" x 60" x 7," Aluminum, wood, brass, artificial flower, artificial garlic, thermoplastic, paint, PLA plastic, anatomy model, 2021); Workers of Five Point Chamber: Intermission 2, (96" x 8.75" x 10," Wood, steel, aluminum, brass, acrylic, artificial flower, thermoplastic, paint, mother of pearl shell, 2021); Workers of Five point Chamber: Red 1 (Safe 16), (41" x 98" x 4," Brass, acrylic, steel, iron, wood, rust, thermoplastic, PVC, 2021)
First Year Exhibition
Breakfast Dilemma, (98.5 x 20 x 96 in, Aluminum, steel, wood, dye-oxide, leather, 2021)
Open Studios
