Hong Hong
she/her Multidisciplinary Artist Tulsa, Okla.
About The Artist
Born in China and currently based in the United States, Hong Hong works across image-making, writing, and movement through repetition, disruption, duration, accumulation, limitation and translation. Hong's practice is structured around recurrent, interconnected temporal systems, notating and responding to shifts in meteorological conditions, solar and lunar periodicities, seasonal intervals, migratory patterns, and the body. Through paper-making, performance, language, painting and lens-based media, she engages lineages in craft and modes of poetic transmission to produce as well as sustain forms of subjectivity. This subjectivity is unruly and at times illegible, refusing governance. Instead, it persists as a conceptual and material field grounded in multiplicity and transcendence. Hong Hong also is the recipient of a Guggenheim Fellowship in Fine Arts (2025), Chiaro Award in Painting at Headlands Center for the Arts (2025), Tulsa Artist Fellowship (2024 - 2026), United States Artists Fellowship in Craft (2023), and Pollock-Krasner Foundation Grant in Painting (2023). Her work has been presented in exhibitions at Real Art Ways, Crystal Bridges Museum of American Art, Diverseworks, Oklahoma Contemporary, Georgia Museum of Art, Ortega Y Gasset Projects, Center for Maine Contemporary Art, NXTHVN, Fitchburg Art Museum, Tephra Institute for Contemporary Art, San Francisco Center for Book Arts, Sarasota Art Museum, Tiger Strikes Asteroid, Akron Art Museum, Texas Asia Society and University of Texas at Dallas, among others. Hong has participated in residencies at MacDowell, Vermont Studio Center, McColl Center for Art + Innovation, Yaddo and Houston Center for Contemporary Craft.
About The Work
I am drawn to craft because it is anthological. An anthology is a collection of texts written by different people. The singular voice, which frequently characterizes literature, is absent or destabilized. The word “anthology” originates from “anthos” and “logia,” which translate to “a gathering of flowers.” I think about craft in relation to the cycles of a landscape, to the passing of one year, the passing of many years. Time, for me, is simultaneously the structure, the engine, the material, and the method. I think about my practice in relation to all the time that has not yet happened. I think about my practice in relation to all the time that already exists. My work is somewhere between what we inherit and what we build. I am not interested in the future without the past, just as I am not interested in the past without the future.
Hong Hong, River, 2021-2024. Hand-formed paper made with repurposed paper products, sun, rain, acrylic paint, Sumi ink, poems, a feather from a Northern Flicker, fallen foliage, and water from the Massachusetts Bay, White Oak Bayou and Arkansas River, 109 x 174 x 45 inches. Photo courtesy by David Hale and courtesy of Visual Arts Center of Richmond.
Hong Hong, Environmental Pour, 2023. Materials N/A, duration sunrise to sundown in Leland, Michigan. Photo by the artist.
