Ostensibly, it may appear as if Ran Hwang is engaging in dualisms dark/light, void/solid, but her work reaches so much further while even challenging her own historic past. Hwang is always growing as a creator something that for some artists of her generation who have understood static as maturity, is antithetical to Korean traditional ways.
For her Beijing solo Hwang again exceeds expectations by producing large yet significantly layered philosophically astute works. Temple architecture plays a significant part in Hwang’s oeuvre as seen in her monumental Temple Complex which although ethereal in its white and pale green color, in its ghostlike form seems to be commenting on the loss of a glorious past and perhaps traditional spirituality. While the temples in the foreground are green they are overlaying white buildings in the background that due to their neutral tone can be read as disappearing or somehow losing their solidity analogous to the loss of royal power.
Hwang’s piece de resistance is a multi-layered, multi-dimensional, multi-media work that also incorporates ritual space with solid form. Her characteristic plum blossoms, are executed in buttons on plexiglas while a video projection throws their image onto the wall that changes their color. This layering process results in great complexity making for an interactive environment of multi-leveled consequence that like Hwang’s career has grown and expanded exponentially.