Artist, curator, screenwriter and educator 

Story supervisor for feature film VOICE OF SILENCE  (2020,Director - Euijeong Hong ) 

*Selected as one of top 12 projects at Venice Biennale College-Cinema 2016/2017

*Shortlisted for Sundance Screenwriters Lab January 2016 (working title 'Without A Trace')

*Nominated for the following four categories at the 41st Blue Dragon Film Awards: Best Film,
Best Leading Actor, Best Screenplay, Best New director and won Best Leading Actor(Yoo Ah-in),Best New director(Hong EuiJeong)
*Nominated for the following six categories at the 57th Baeksang Arts Awards: Best FilmBest ActorBest Supporting ActorBest DirectorBest ScreenplayBest New Director and won Best Leading Actor(Yoo Ah-in), Best director(Hong EuiJeong)

*Won Cheval Noir Award for Best Film and Cheval Noir Award for Best Actor at the 25th Fantasia International Film Festival

*Nominated for the following three categories at the 26th Chunsa International Film Festival:Best Actor, Best Screenplay, Best New Director

*Nominated for the following five categories at the 30th Buil Film Awards:Best Film, Best Actor, Best Supporting Actor, Best Director, Best New Director. 

Selected Publication 

Korean Crime Drama ‘Voice of Silence’ Takes Top Jury Prize at Fantasia Film Fest, The Hollywood reporter, Aug 26, 2021

The Moral Core Of Hong Eui-Jeong’s Award-Winning Film ‘Voice Of Silence’ Forbes, Aug 21, 2021

Painterly Object

Opening Reception : Friday, 6 to 8, November 15th Open to the Public: November 15th - January 11th 2019


Exhibition statement

 Yun Jeong Hong

Painterly Object (2019) explores the relationship between past rituals and the modern understanding of images and objects by combining traditional-style paintings with still life installation. The white ceramics have no color on their surfaces, but take the shape of the traditional subjects such as bowl, paper, fabric, and vegetables. Even though this installation exists in the real world, it is a “ghost”: mimicking Idea of things, as Plato assumed “all things in the state of reality are shadow of reflection from their Idea”. By mimicking the shape of bowls, instead of conversing into singular momentum of a function as a bowl, the ceramic pieces of still life questioning about the Idea of still life. The Iconographic visual languages of the paintings and ceramic installations reminisce rich fictional stories using archetype-symbols such as beheaded man, rabbit fur, Diana-the virgin and hunting goddess, wolf and rabbit masks, flowers for celebrating death and life. Painting of Bacchus and head of a man ceramic sculpture creates the connection between the life of Bacchus and Jesus/Socrates, as Nietzsche intends modernism and life. In contrast, “thinking/talking/loving bowls” series is the act of drawing to show how images, symbols, and letters on the surface of ceramics contain meanings and emotions. Unlike images on canvas, images on ceramic are imprinted on a three-dimensional surface and converged toward the inner space. Ceramic object resonates with the movement and the shapes of things, and contains a personal story, moments, and emotions.



On going project 2019 - researching figures from Edwards place 

"When Helen Edwards came to Illinois as a young bride in 1840, She had almost no experience in running a household; she remembered shedding many a tear over her first attempts at cooking. Over the years, through trial and error, and with help from friends and advice from cookbooks, Helen became an excellent cook and hostess whose guests included Abraham Lincoln, Stephen Douglas, John T. Stuart, Stephen Logan, and other leading lights of Springfield.

Helen faced challenges in her kitchen that 21st century cooks can hardly fathom. Her cooking was done over a wood-burning, cast-iron stove with no method of accurately regulating the temperature. 
Without electrical refrigeration, fruits and vegetables were canned and stored in the cellar under the kitchen; that is if vegetables could be had at all, for an unlucky drought could wipe out a season's worth of long-anticipated produce. Although food was available for purchase from the market, it was completely unprocessed: a chicken dinner began by plucking the feathers from the bird.
Still, as a woman of means, Helen had luxuries in her kitchen. Fragments of bottles recovered from an early Edwards Place privy indicate that the family was purchasing prunes and olive oil imported from France. Helen's letters frequently mention oysters and lemons, both expensive treats in central Illinois. For large parties she hired the local confectioner, Willian Watson, to create his signature pyramid of macaroons covered in spun sugar, which was the toast of legislative parties in antebellum Springfield.
Within a decade of her marriage, Helen was able to hire a cook to take over kitchen duties. Having a live - in cook seems like an incredible luxury to 21st century readers, but cooks were common in upper-middle-class, 19th-century households. Nearly every family who owned a house employed at least one hired girl to help with the cooking and cleaning. These hired women, often German or Irish immigrants, were not always the panaceas that their employers had anticipated. In the 1860s, Helen's cook, Bridget, seems to have been something of a headache, causing Helen to complain that she "is careless and wasteful." In 1868, Helen lamented, "it makes me feel annoyed, and anxious, to pay such enormous wages and have so little done satisfactorily, and withal endure such willful extravagance, as Bridget continually is guilty of in all her work. I must look for another and at less wages." Sometime later Helen did hire a new cook, whom she described as "A fine German woman, who represents herself as a splendid cook, having lived with Kings - Princes, Lords, (all misters I reckon) but cannot understand a word of English, except Bread, and Pies." Though the new cook was relief, Helen was not entirely absolved from duties in the kitchen. When the household was between cooks or when the regular cook was temporarily absent, Helen had to roll up her sleeves and do the cooking herself. And, even when the cook was present and working hard, a lady of the house, such as Helen, were expected to know their way around the kitchen so they could effectively manage their employees."
Eating with the Edwards Family 
Erika Holst
The Springfield Art Association of Edwards Place, June, 2011

The cook, work in progress, figure study related to Edwards Places

Oyster bowl, artifact study related to Edwards Places

<Guppy Breeding: Being Orchid> will be in Exhibition, March 8-9, Hood Classroom, Krannert Art Museum


 Oct. 15 to Nov.9 in Gallery 336B of the ICC Academic Building

Opening Reception & Artist Talk 

October 15 @ 12:00 pm - 2:00 pm

Gallery 336B Hours of Operation*
Monday – Thursday 9:00 am-5:00 pm
Friday 9:00 am-noon

*Please note that ICC is closed during holidays and breaks during the academic year; please call ahead to confirm the gallery is open.

Art Program office (309) 694-5113

Images from exhibition