All work by June Hong
Color is where I have always known who I am.
From early on, certain combinations made me uncomfortable, not because they were wrong, but because they were forgettable.
I have always been drawn to tension: colors that should fight, but don't. Combinations bold enough to be remembered.
My work is built on that instinct.
Through layering, woven structures, cut and reconstructed surfaces, transparent fabrics stacked until a third image emerges,
I have been asking the same question in different materials: what holds something together when everything in it is pushing apart?
This is not about decoration. It is about the threshold between too much and exactly right.
Digital print on chiffon, hand crochet, 2024
The same thread. The same color. What changes is what it lands on.
Digital print on chiffon, hand crochet, 2024
Tension doesn't always require contrast. Sometimes it lives within a single tone.
Silk and monofilament, computer loom, 2018
Double weave binds two separate layers, silk and organza, into one structure.
Cut away the silk, and the remaining organza becomes transparent.
Left: Silk and organza, computer loom, 2020
Right: Digital pattern, 2020
Transparency doesn't require physical depth. Layers of digital color can build the same illusion.
Digital pattern, 2020
A single outline can change everything about how a composition reads.
Digital pattern, 2020
Context is never neutral. The same work, placed differently, becomes something else.
Hand drawn illustration, 2020
Paint carries weight that print cannot replicate.
Acrylic on canvas, 2024
How something is photographed is also a choice about what it means.
Photography, 2024
Light decides what gets seen.
Digital print on chiffon, hand crochet, 2024
Scale changes the conversation between the work and the room.
Digital print on chiffon, hand crochet, 2024
Zoom in, and a different world appears.
Digital print on chiffon, hand crochet, 2024
Same form, different palette. Entirely different mood.
Digital print on chiffon, hand crochet, 2024
A break in the pattern gives the eye somewhere to rest.
Silk and monofilament, computer loom, 2018
Same material. Different finish. Completely different surface.
Left: Silk and monofilament, computer loom, 2018
Right: Machine knitted, 2018
As a weaver, a textile designer, and someone who has worked inside mass production,
I have seen how material decisions shape what people experience every day, often without noticing.
My practice has always been about looking closely at what changes when one thing shifts: a layer, a finish, a context, a color.
That is exactly what CMF design is. And it is where I want to be.
