Seonna Hong Painted Passageways

Youthful innocence, imaginative exploration and artistic perseverance coexist within Seonna Hong’s world scapes. (Above, Seonna Hong, Come Undone, 48 x 60 inches, acrylic on canvas, 2015).

Contemporary and surrealistic, Seonna’s work might be likened to the artistic legacy of Leonor Fini and the landscape paintings of Paul Klee. (Featured below Leonor Fini & Paul Klee, Bei Taormina, 1924).


Seonna Hong’s work is vibrantly fresh and provides glimpses of accessibility for her subjects to roam freely in a landscape of potential and possibility. Recently, the Jonathan LeVine Gallery featured a series of new works, If you Lived Here I’d Be Home by Now.

Foreshadowing, on what’s to come, this collection was described by Seonna as, “My once melancholic and somber pieces have given way to a new kind of hopefulness.” Thankfully, I caught up with Seonna and proudly share this interview. (Above, Seonna Hong, Map With No Ocean, 10 x 20 inches, acrylic on found book, 2015).


mark Murphy : Looking back at your most recent collection of work, If You Lived Here I’d Be Home By Now, the landscape takes on a personality and active role in your work. As a painter, does the background take on unexpected roles? How do you think your characters will fare? (Above, Remember the Good Things).


Seonna Hong : It’s been interesting, my paintings have definitely evolved from the character being the primary focus to the background being well, the main character in a way. The backgrounds are now becoming the thing that determines the painting for me. (Above,


The characters are still important, but they are now a lens to look through as they traverse the landscape and no longer required to be the focus of the painting itself. In this shift, the background has definitely taken on an unexpected but inevitable role. (Above, The Magic Number).


Even my process has been affected by this shift. I used to start with a sketch of the main character or scene, but now I start with the background. (Above, World Without End).

The landscapes take on totally different qualities as I go, and I try to maintain a sense of spontaneity. However, I’m spoiled by my experience with technology and often wish there was an “undo” or “go back” button within the painting process. (Above, Sailing Away).


The surface of the work is becoming more spontaneous, a form of controlled chaos. The canvas becomes a place to scrape, paint over, peel back and then off, not afraid to add this material to another piece altogether.


mark Murphy : Who are some of your inspirations when reflecting on past creative minded artists of the past?

Seonna Hong : So many... but right now? Helen Frankenthaler, Sonia Delaunay... (Featured above).

mark Murphy : Your work always seems so empowered, no matter the emotional context. How would you describe it?

Seonna Hong : Thank you! I think it’s because it's a better, braver version of me is driving. I mean, the scared and vulnerable one is in the proverbial car too, but I try not to let that one be in the driver’s seat too much.

So the ones that are traversing the landscape on their own, with animals (friends and foes)… they’re confidently exploring their environment and facing it head on. (Above, Steady Friends).


(Of course, they are also addressing their situation, and depending on what lies ahead, running away when appropriate!)

mark Murphy : Do you have any projects or new things you would like to celebrate?

Seonna Hong : Yes!  I’m honored to be included in a group show curated by Takashi Murakami, Takashi Murakami’s Superflat Collection―From Shōhaku and Rosanjin to Anselm Kiefer, at the Yokohama Art Museum. This exhibition is composed of works from Takashi’s personal art collection culled over his career, and features work from the fields of contemporary art, Nihonga, antiques, and contemporary ceramics. (Featured, Seonna Hong, I am Not Permanent, 72 x 48 inches, Mixed Media on Wood, 2007).


Fantastic interview and kind thanks to Los Angeles painter Seonna Hong. For additional information about Seonna Hong, please visit her website and see more of her work at the Jonathan LeVine Gallery. (Additional reading: Persistence of Vision, Miami Art Basel Feature). (Above, Sea Level).