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Suspicious Growths by Tai Hwa Goh

The Korean Cultural Center Washington, D.C. proudly presents Suspicious Growths, a new exhibition of vibrant, organically-inspired installation works by Tai Hwa Goh, the center’s 2017 Artist of the Year. 

Tai Hwa Goh’s works start with an interpretation of personal experiences, a desire to capture the fine details and rhythm that make up one’s accumulated memories, and the natural flow of energy. Goh’s pieces use traditional printing methods on thin Korean paper, which is piled, folded, and bound by hand to create figures that evoke elements of nature such as stems, cells, and seeds, and organs of the human body. These figures become a living organism that appears to proliferate and divide as viewers experience a totally transformed art space, before being reborn into an installation with architectural elements. This reflects Goh’s process of finding her identity through an acute realization and transformation of one’s total life, memories, and ego.

The Artist of the Year recognition bestowed on Suspicious Growths was launched this year to spotlight one outstanding artist who applied to the center’s annual Open Call for Artists. Now in its second year, the open call program is a competitive selection process that forms the following year’s exhibition season at the Korean Cultural Center. It was established to help diversify and broaden the number of Korean artists introduced into the mainstream in the United States. Selected artists are chosen fairly by a panel of judges including Klaus Ottmann, Deputy Director for Curatorial and Academic Affairs at the Phillips Collection, and Professor Fletcher Mackey of the Maryland Institute College of Art. 

Suspicious Growths launches with a public opening reception and in-person introduction by Tai Hwa Goh on Friday, Feb. 3 at 6:00 p.m. and remains on view through Feb. 24, 2017. 

Suspicious Growths
WHAT: Art exhibition, artist talk, & public opening reception
WHO: Tai Hwa Goh
WHEN: Opening Reception: Friday, Feb. 3 at 6:00 p.m. 
On View: Feb 3 – 24, 2017 (open M-F, 9am-noon & 1:30-5:30pm)
WHERE: Korean Cultural Center Washington, D.C. (2370 Massachusetts Ave. NW)
HOW


FYI we're trying a new RSVP system! Click above to RSVP. 
If you have any trouble, please email AWOJ@koreaembassy.org, or scroll down below for the old form. 

Leak, photo credit: Jessica Talos

Overflow, photo credit: Ken Goebel

Overflow, photo credit: Ken Goebel

Fall

The Suspicious

About the Artist
Tai Hwa Goh is a Korean-born artist who primarily works with printmaking and paper installation. Goh received her MFA degree from the University of Maryland in 2004 specializing in printmaking and sculpture. She also received a MFA in printmaking from Seoul National University (Korea) in 2000. Goh has participated in numerous shows including at the International Print Center New York (IPCNY), DUMBO Art Festival, Islip Museum (NY), William Paterson University Gallery (NJ), Gallery Aferro (NJ), AIR Gallery (NY), Snug Harbor Cultural Center, and Flashpoint Gallery (DC). In spring of 2016, she had a solo exhibition at Sunroom Project Space at Wave Hill (Bronx, NY) and at BRIC Arts | Media House (Brooklyn, NY). She is currently participating in the Art Mora studio program.  Goh has been awarded grants and residencies from Guttenberg Arts (NJ), Lower East Side Printshop (NY), the Elizabeth Foundation for the Arts (NY), Aljira Emerge 11 at Aljira: A Center for Contemporary Art (NJ), and Vermont Studio Center (NY).  

Artist Statement
I create delicately layered installations from printed and cut paper. My imagery evokes biological forms and landscapes, reflecting on the accumulation of memory and experience, and the interior and exterior worlds of the human body. I cut, fold, layer, and form the hand-printed paper into three-dimensional objects that engage with the architecture of a space. I construct tubes, pipes, and balls brimming with fluid-like stands of paper as a metaphor of the cycle of the body, industrial machinery and natural phenomena, as well as the endless processes of growth and decay. Highlighting the contrasts between the joyful tropical fantasies of landscape vis-a-vis a land brashly invaded by fragments of American suburbia, I respond to the architecture of the gallery space while reflecting on experiences of loss and absence. 

My process begins with examining and researching the site of installation. I start with many sketches and drawings built upon close inspection from landscapes to biological forms about the penetrability and vulnerability of the human body. I experiment with traditional printmaking to push the boundaries of the medium and explore the three-dimensional space. The process involves transforming the characteristics of the material by reacting opaque Hanji (traditional Korean mulberry paper) with batik. Thin sheets of beeswax are ironed onto the prints, obscuring the images underneath. By folding, cutting, flipping, and overlapping, images are gradually transformed away from identifiable objects. By densely layering the imagery, I reflect on the accumulation of memory and experiences.