Georgia Scherman Projects is proud to present Hyang Cho's Something, Nothing, Everything.
Cho’s meditative practice radiates a stillness from its center. In Something, Nothing, Everything Cho explores a sense of anxiety, uncertainty, and tension embedded in the everyday, not as a passive mode but a driving force of daily living.
In the works, Cho plays with accumulation, duration, and repetition in time and space. The works, initiated from everyday things, are produced with meticulous intervention. From found documents and objects, advertisements flyers, to graphite, the singularity of Cho’s practice stems from her ruminating inquiry. She takes the position of a marginalized observer, coolly translating, cogitating, and reckoning with our flawed modes of reception. Something, Nothing, Everything embodies the contradictory aspect of the everyday: it is familiar and strange, alike and different, opaque and transparent, quiet and loud at the same time.
Hyang Cho was born in South Korea in 1974 and currently lives and works in Guelph, Ontario. She holds a B.A. from Sogang University, Seoul, Korea (1998), a B.F.A. from Alberta College of Art and Design, AB (2007) and an M.F.A. from the University of Guelph, ON (2009). Since 2006, Cho has had solo exhibitions at Optica (Montreal), the MacDonald Stewart Art Centre (Guelph) and Modern Fuel (Kingston). Her work has also been included in group exhibitions at McMaster Museum of Art (publication, Hamilton), Art Yard (Frenchtown, NY, USA) and the Illington Kerr Gallery (University of Alberta). Currently on view, Cho is part of The Brain is wider than the Sky at the Kitchener-Waterloo Art Gallery (through September 23).
Hyang Cho would like to acknowledge funding support from the Canada Council for the Arts and the Ontario Arts Council.
Over a year, Cho kept a journal of her personal thoughts, feelings, and experiences. However, she did so on a single page.
A solid, 24 inch diameter sphere sculpture created with layer upon layer of paper mache made from a year’s worth of advertisements flyers that arrived to Cho’s home.
A series of works on paper created by manually transcribing/hand-copying printed-out images of collected handwritten letters found on the internet. From the source materials found online, the guideline of Cho’s selection relied not on the meaning of the letters but their appearance - most of them are in languages the artist does not know.
Found tin index card box filled with hand drawn copies of index cards.
A series of framed drawings from collected glass-framed pictures found in local second-hand stores. For each, Cho created a drawing to replace the picture inside. With a black writing or drawing material (pencil, pen, charcoal, oil stick, crayon, pastel), she executed a simple and repetitive action: from a dot at the assumed centre of the paper, a circle grows outwards, until it fills the entire frame. The opaque solid black drawing, overlapped with the transparent glass of the salvaged frame, becomes a permeable space, reflecting and interacting with the surroundings.