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In Eunnam Hong’s Paintings Clothes Tell the Whole Story

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The characters that she creates for her paintings are sort of autofiction versions of herself. She can explode a feeling—of loneliness, of regret—and their narratives can feel expansive even within the confines of the apartment rooms that they’re set in. Through it all, it is clothes that are the main storytelling vehicle. “In all these different paintings, clothing is like a souvenir from my lifetime that I can share with many people around me,” she says. On the day that we meet, her style most closely resembles the women in Jean Jacket, which is one of the few works where she is not wearing the signature blonde wig. But her paintings are not about self-reference or nostalgia. 

In Lunch Break, a group of five female figures fill the canvas, some sitting down and others standing, dressed in the sort of skirts and shirts favored by working women in the 1970s and 1980s, holding little paper cups full of coffee and holding sandwiches. It is a scene from the breakroom at a factory, but transported into an apartment interior. “I wanted to go into the feelings of how you are really constantly working inside of your own place,” she explains. “I was feeling low and invisible, but also you know, craving Asian food.” She laughs. 

Meanwhile, in White Collar, two female figures face each other, reclining on a bed, both wearing a white button-down shirt tucked into a belted pair of blue steel colored canvas pants. “My dad’s parents were farmers and he was desperate to be a white collar person, so he became a banker,” she tells me. “That’s how he achieved a change in status for his family, and he really pushed that to us, to be very educated, to ‘do things.’And in a lot of ways he was very realistic, and you know, he was not wrong. But I was also living with that reality, and in a sense it doesn’t go away.”


The characters that she creates for her paintings are sort of autofiction versions of herself. She can explode a feeling—of loneliness, of regret—and their narratives can feel expansive even within the confines of the apartment rooms that they’re set in. Through it all, it is clothes that are the main storytelling vehicle. “In all these different paintings, clothing is like a souvenir from my lifetime that I can share with many people around me,” she says. On the day that we meet, her style most closely resembles the women in Jean Jacket, which is one of the few works where she is not wearing the signature blonde wig. But her paintings are not about self-reference or nostalgia. 

In Lunch Break, a group of five female figures fill the canvas, some sitting down and others standing, dressed in the sort of skirts and shirts favored by working women in the 1970s and 1980s, holding little paper cups full of coffee and holding sandwiches. It is a scene from the breakroom at a factory, but transported into an apartment interior. “I wanted to go into the feelings of how you are really constantly working inside of your own place,” she explains. “I was feeling low and invisible, but also you know, craving Asian food.” She laughs. 

Meanwhile, in White Collar, two female figures face each other, reclining on a bed, both wearing a white button-down shirt tucked into a belted pair of blue steel colored canvas pants. “My dad’s parents were farmers and he was desperate to be a white collar person, so he became a banker,” she tells me. “That’s how he achieved a change in status for his family, and he really pushed that to us, to be very educated, to ‘do things.’And in a lot of ways he was very realistic, and you know, he was not wrong. But I was also living with that reality, and in a sense it doesn’t go away.”

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