Hyeonjung Lee Times really matter, and June 7 -July 1, 2019

Hanna Hur Signal at the Wheel, Hover at the Gate June 7 - July 20, 2019


Making chainmaille is a laborious, yet meditative process. Hanna Hur crafts individual copper loops and weaves them into chainmaille using just two sets of pliers and a metal dowel. The result is a malleable grid, a net that changes shape according to the demands of gravity. Adjusting one ring causes the entire structure to move. The field expands as Hur adds rings to the chainmaille mesh; some works have been growing for five years or more. Two overlapping chainmaille grids on the floor form The Gate iii (2014-19). The top layer of chainmaille molds itself around a clay ball nestled in between the two matrices. A work entitled, Mother iii (2017-19), consists of eight single strands of copper chainmaille lining the inner corner seams of the gallery walls. The artist indicates that the body of a spider connected to these eight “legs” hovers above the gallery ceiling in another dimension, immaterial and unseen.


Through sculpting, painting and drawing, Hanna Hur delineates planes of existence where the unexpected may occur. Locating the grid as a site for contending with both materiality and belief, she charts a liminal territory to make way for startling signals and vibrations arriving from unpredictable sources.


The chainmaille sculptures, an integral part of Hur’s practice since 2012, provide a driving logic for the wall works. Applying colored pencil to paper, silk and cotton, Hur relentlessly generates grids inscribed with circular portals, wheels and spheres. The slow and repetitive mode of drawing geometric forms enables Hur to enter into a more a receptive state of mind, opening channels for other imagery to come to the surface.

Hanna Hur (b. 1985, Toronto) lives and works in Los Angeles. She recently received her MFA from the University of California Los Angeles. She holds a BFA from Concordia University, Montreal. Recent exhibitions include Four Pillars, L’INCONNUE, Montreal (2018); Cupping the Counter, Motel Gallery, New York (2018); undressing a clam, Visitor Welcome Center, Los Angeles (2017); Chance, on the edge of a line, The Sunroom, Richmond (2017); Trapdoor (with Michael Kennedy Costa), 67 Steps, Los Angeles (2017); and The fraud that goes under the name of love, Audain Gallery at Simon Fraser University, Vancouver (2016). Hur will participate in forthcoming exhibitions at Heiwata, Mexico City, and Franz Kaka, Toronto.



opening June 7, 2019, 7 - 10 PM