Hyunjin Park is a Korean interdisciplinary artist and researcher based in New York, working across sculpture, installation, performance, and video. She investigates how technology-driven capitalism reshapes traditions and reinforces boundaries between the old and new, human and non-human, and life and death. 

Park studied at Seoul National University in Seoul, South Korea, and Cornell University in Ithaca, NY. She participated in residency programs at Domaine de Boisbuchet, Lessac, France (2024, sponsored by the Youngmin International Art Program), Vermont Studio Center, Johonson, VT (2024, fellowship), and Wassaic Project (2025), Wassaic, NY.

Can you share a bit about your background and how you began your artistic journey?

I was born in Seoul and grew up in Incheon, a major port city and transportation hub in South Korea. Living near the airport and harbor constantly reminded me of the possibility of departure – it created this persistent feeling that I should venture outward, stirring a desire to journey somewhere new. Even now, I occasionally feel that familiar urge to go somewhere else. 

When I was very young, around 5 years old, I would move a chair to use as an easel, put paper on it, and draw and scribble. I loved that ritual. My mother always said I was very quiet and had difficulty expressing myself to others because she thought I was introverted and reserved, but during that time I was simply daydreaming a lot. So, drawing became my way of bringing those thoughts into the real world.

What keeps you inspired and motivated to create new work?

I’ve thought deeply about my relationship with my dog Popo, who passed away in 2022 – I can say she was the one I loved most in my life. She gave me so many themes to explore in my artistic process: the act of care, family, non-human beings, life and death, ancient myths about dogs, the history of how dogs became ‘dogs’ in this era, and even capitalism. Beyond that, she gave me a sense of restoration and the desire to represent non-existent beings which belong to imaginative realms that drives a lot of my artworks. I also read extensively, particularly literature by Korean women writers who observed and wrote about the turbulent post-colonial era and economic growth period of 1950-1970.

How has your artistic style evolved over time?

I think my artistic style has evolved largely through exploring different mediums. I was primarily a painter until my early 20s, but then I began delving into video, performance, workshops, and recently sculpture – which has made me feel both ‘evolved’ and simply ‘changed’. Also, Working in unfamiliar fields has given me opportunities to see myself differently and opened up possibilities for exploring both my identity and my capacity as an artist.

What do you find most rewarding about being creative? 

Being curious about myself, others, circumstances, like every element that surrounds me – not taking anything for granted. This mindset allows me to always remain humble and alive.

What challenges have you faced as an artist, and how have you overcome them?

It can sometimes feel like a vicious cycle, but I’m always drawn to things I don’t know well – whether techniques, mediums, or theory. Sooner or later, I develop a strong intuition and urge to incorporate these elements into my art practice, which requires a lot of trial and error, help from others, and most importantly, time. For example, with Neither Lion, Dog, nor Human (2022) – I had no knowledge of Korean lion dance, but somehow knew I wanted to include it in my performance. I decided to attend almost every lion dance performance in Korea for six months, sometimes driving from Seoul to the southern tip of the Korean peninsula. Eventually, this led me to meet Rayoung and Soomin, who were willing to work on choreography with me and perform in my piece. So while challenges arise at every level (depending on what you want to achieve), I’ve found that if you want to overcome them, you should start exploring deeply, initiate conversations with strangers, and then let the challenge guide you – this approach has always led me to rewarding moments. 

What advice would you give to emerging artists looking to establish themselves?

As an emerging artist, there are many times when we have to prove ourselves repeatedly (like through proposals and applications), and I found it particularly challenging when I questioned whether I could continue believing in myself as a good artist. However, discussing these obstacles with friends and others who believe in myself as well as my work has helped tremendously, so I’ve learned to trust myself one more time whenever I feel this way. While I think it’s an artist’s job to overthink about their art, I try not to overthink the fact that I am an artist.

Text & photo courtesy of Hyunjin Park

Website: https://hyunjin-park.com
Instagram: https://instagram.com/hjwsw