...불안, 동정, 경멸, 만족, 패배, 혐오, 황홀, 질투, 강박 그리고 우울을 쓰다듬고, 빨고, 찔러 싸게한다. 그러다가 갑자기 꽉 쥐고 붙들어서 질식할 때까지 흔들고 닿을 수 있는 곳 너머까지 집어넣어 휘저어 뱉어서. 범벅된 것을 다시 범벅해서. 다 말라버릴 때까지. 말라서 가루가 되어서 긁혀질 때까지. 가루가 뭉쳐서 선을 만드는데 다시 그 위에 또 싸게 하고 불렸다가 다시 굳혀서. 그들이 원인, 현상, 해결책이라고 상상하고 믿어 기록했던 이 모든 것을 좌절시켜 조금 울고 많이 웃게 한다. 모든 것을 되먹인다.

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Hyelim Hong works primarily with architectural materials, creating installations that reflect her ambivalent relationship with architecture. Recently, she has explored Western, male-centric studies and hypotheses about the human body— examining what has been wrongly exaggerated or omitted due to their plasticity—while materializing the language and imagery of female excretion and illness to evoke both solidarity and laughter. Her practice merges painted or digitally created images with tactile, physical elements, yet she intentionally “insults” the materiality of these substances. By exploiting material boundaries, she constructs bodies with structures that allow anything to enter or exit at any time and from anywhere. She strokes, sucks, and pierces anxiety, pity, contempt, satisfaction, defeat, disgust, ecstasy, jealousy, obsession, and melancholy—releasing them. Then, suddenly, she grips them tight, shakes them until they choke, stuffs them beyond reach, stirs them up, and spits them back out. She re-saturates what is already muddled, repeating the process until everything dries up—until it crumbles into dust and can be scraped away. The dust clumps together, forming lines and layers, swelling and hardening, only to be reworked once again. This cycle disrupts everything once imagined, believed, and recorded as causes, phenomena, and solutions—eliciting both tears and laughter. Everything is fed back.