@horanggasy_official | 호랑가시나무창작소 입주작가 장영은 | 2026. 04

2026 호랑가시나무창작소 입주작가

장영은 Jang Young Eun
@feelmycolor 

장영은은 빛과 자연을 주제로 시간의 흔적을 탐구한다. 묵향이 가까운 환경에서 성장하며, 한국적 미감과 재료의 물성을 바탕으로 새로운 조형 언어를 구축하는 데 자연스럽게 관심을 갖게 되었고, 2016년부터 수묵의 화면 위에 바느질을 중첩하는 독자적인 작업 방식을 구축해 왔다.
작업은 습윤한 패브릭 위에 발묵을 통해 형성된 수묵의 층위와, 자연의 현상과 요소에서 비롯된 ‘결’을 모티프로 한 바느질의 중첩으로 이루어진다. 번지고 스미는 수묵과 바느질을 통해 형성된 점·선·면의 구조는 화면 위에 리듬과 밀도를 형성하며, 평면 회화를 촉각적이고 공간적인 감각으로 확장한다.
작가는 빛과 자연의 인상을 화면 위에 구조화하며 ‘결’이 축적되는 사유의 공간으로서 여백을 다룬다. 수묵과 은실의 결이 직조된 화면은 유한한 삶 속에서 포착된 순간을 영원의 시간으로 고정한다. 현재 대형 평면 회화와 공간 설치 작업을 병행하며 수묵 회화의 동시대적 가능성을 확장해 나가고 있으며, 주요 작품은 천안시립미술관과 의료법인 동강의료재단 등에 소장되어 있다.

Young Eun Jang (b. 1993) explores traces of time through the themes of light and nature. Growing up in an environment permeated by the scent of ink, she naturally developed an interest in establishing a new formal language grounded in Korean aesthetics and materiality, and since 2016 has developed a distinctive practice of layering stitching onto the surface of sumuk (Korean ink painting).
Her works are composed through layered applications of sumuk formed by balmuk (a water-controlled ink diffusion process) on damp fabric, combined with stitching inspired by gyeol (traces) derived from natural phenomena. The structures of dots, lines, and planes generated through the diffusion of ink and the accumulation of stitching create rhythm and density across the surface, expanding painting into a tactile and spatial experience.
Jang structures impressions of light and nature within the composition, treating emptiness as a contemplative space where gyeol accumulates. The interwoven traces of ink and silver thread fix moments captured within the finitude of life into a state of timelessness. Working across large-scale paintings and spatial installations, she continues to expand the contemporary possibilities ofsumukpainting, and her works are included in the collections of Cheonan Museum of Art and Donggang Medical Foundation.

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