EUNICE CHO

CONTACT

CV available upon request

Add some thought-provoking stuff here

Exhibitions

(upcoming) Tincidunt TBA
Ultricies Ultricies,
Congue Nisl
2024

(upcoming) Vestibulum-Vitae
Auctor Ipsum,
Dictumst Ligula,
Porta Libero
2024

Suspendisse
Molestie Aenean,
Facilisis Tellus,
Porta Libero
2024

Ultrices
Parturient Felis,
Pharetra Nibh,
Porta Libero
2023

Bibendum
Adipiscing Nunc,
Tincidunt Tristique Congue,
Vestibulum Porta Libero
2023

Eu & Fringilla, Collaborative Imperdiet with Quam Sodales,
Donec Tristique Porta Libero
2023

Semper
Cursus Tempus,
Porta Libero
2023

Dictum, Elit. Vestibulum
Gravida Congue
2023

Rhoncus Congue
Ullamcorper Suspendisse,
Duis Ornare Porta Libero
2023

Pellentesque Ornare
Porttitor Ultrices,
Sagittis Tempor
2022

Aliquam Dolor
Netus Curabitur,
Porta Libero
2022

Euismod Gravida
Egestas Nibh,
Blandit Tellus
2022

Tristique
Phasellus Ornare,
Porta Libero
2022

Faucibus
Lacinia Convallis,
Duis Quam
2022

Mattis Sollicitudin Ultricies
Dignissim Luctus,
Congue Ipsum,
Porta Libero
2022

Egestas
Condimentum Senectus,
Purus Aliquet,
Porta Libero
2021

Awards

Tempus Egestas Nibh Vestibulum
Facilisis: Ultricies Ornare Ligula
2021

Rhoncus Auctor Ornare; Tincidunt Tristique, Porta Libero
2020

Press

‘Vestibulum Inceptos Gravida’, Ornare Review,
by Tincidunt Nisl
2024

‘Ullamcorper Faucibus (Congue) Euismod’, by Ligula Parturient, Bibendum Review Porta Libero
2023

Dictumst Tristique, Facilisis Magazine, Edition Two, Porta Libero
2021

Auctor Adipiscing Art Magazine, Porta Libero
2020

Sollicitudin Ornare Magazine,
Porta Libero
2020

Last Updated 24.10.31

WORK

INDEX

ABOUT

I love galleries

Skin Of My Name

When I learned that my name, Eunice, means “good victory,” I started to wonder how much of who I am was imagined for me before I was born. I painted a green vine growing out of me and winding down into a large ear because a name is something we hear so many times that it becomes part of us. I sculpted the faces and the vine in relief, and repeated these motifs so they would push out from the board, the way a name sits on us like a second skin. I placed a small figure reflecting on my animation about the flow of life, discovery and self-actualization. I am still growing into my name, and the piece, as a whole, stands for who I am now and who my name hopes I will become, as I learn to live with both.

Inner/Outer Space

When I thought about drawing in space, I realized I already leave small marks on the places I pass through every day. I chose to represent this with the act of making a circle as an encompassing gesture that changes, showing varying locations. I hope to keep expanding the size of my actual and metaphorical circles as I grow in experience and perspective.

The Fruits of My Labor

I noticed one day that “stressed” spelled backward is “desserts,” and it made me think about how often I chase a reward while feeling stressed the entire way there. I wanted to take the phrase “the fruits of my labor” literally, so I built a kinetic sculpture where the viewer has to put in the work themselves by turning the crank before receiving anything. With every turn, the stress becomes something sweet, and the fruit appears once the effort has been made. I created a typeface that also functioned for the boxy, mechanical vision of a cube. Making it pushed me to notice that the growth happening while I work is part of the reward too, since that is where most of my time is spent.

Reflections of Han

Growing up as the only child of Korean immigrants, I came to know the word han, a sorrow shared by a people and passed from one generation to the next. I drew myself in black-and-white pencil and layered different cut-outs to separate the past and the present. To represent the modern version of who I am, looking into the inheritance that shaped me. I painted the world inside like a jewel, with the figures in hanbok appearing across its fragments as my ancestral connection to the women who came before me, since each facet holds a piece of a past I value but only know through stories. In the center of the piece, I decided to cut out my silhouetted figure connecting to my past, highlighted by the animation placed behind.

Reflective Still Life

This drawing began as an observational still life, where I arranged objects that interest me on my desk and placed a metallic sheet in front of me so that parts of the setup would reflect and distort. I wanted this piece to give the viewer the sense of being inside my head, so I drew the scene from my own point of view. By drawing myself drawing, I wanted the viewer to see through my eyes and experience the moment of looking and making as it happens.

Feel

I often wonder what it really means to feel, and how much of it comes from ordinary moments I never stop to think about, like eating a bowl of noodles late at night. In “Feel,” the first piece in my series Feel at Ease, I let one noodle curl into the word itself because I wanted the feeling to come straight out of that everyday act. When I tried to trace my feelings back to where they started, I kept landing on memories from when I was younger, so I placed the houses and the girl by the fire in the background, where they stay present behind everything the subject does. The raised circles made out of pumice molding gel are about the inexplicable feelings in my life and serve as a light source guiding my direction.

“At,” the second piece in my series Feel at Ease, came from watching the people around me rush toward whatever comes next without stopping. I painted the greyhounds racing at full speed and blurred them to stand for a society that measures its worth by how fast it can keep moving. I placed myself sitting still on the steps, painted in monochrome to set that moment of reflection apart from the rush around me. I also enjoyed experimenting with cut-out shapes using illustration board, in order to break the composition into more unexpected ways beyond the rectangular canvas. The lines running across the piece represent the many directions people are pulled in at once, and the staircase made me wonder how many of us are climbing toward a destination we don’t always choose for ourselves. I found myself asking what it would mean to be fully present where I am, and whether that might be the closest thing to ease.

Ease

“Ease” is the last piece in my series Feel at Ease, and it came from remembering how I used to rest as a kid, when I could play at a table for hours without wondering whether I was being productive. At some point I started feeling like I had to earn a break before I let myself take one, so I painted myself, resting my head on the table with the letters of the word within reach. I built those letters as three-dimensional pieces that extend past the edges of the canvas, so the word would feel like something physical I could pick up and play with, the way I used to with toys. The table melts into swirling color to show how the hours used to blur together when I let my mind wander, and I made this piece to ask whether growing up means forgetting how to rest, and if it does, whether it’s something I can learn again.

Accumulation

Every morning I reach for the same row of bottles on my bathroom counter, and I started to wonder how much of that routine was harming me. Most of those products came into my life because I felt pressure to look a certain way, so I drew them piled larger than myself, climbing over them, which is how that pressure feels once it grows bigger than I am. I worked in the negative, drawing with white pencil on black paper, so every mark I made became a highlight on the bottles’ glossy surfaces, the same shine that made them so appealing to me in the first place. I wanted to hold onto the moment of looking up from that pile and realizing how much energy I spend keeping up, and to ask who I would be if I let some of it go.

Steps to Empathy

My imagined public art started with the 2009 photo of President Obama bowing to Emperor Akihito of Japan, a gesture that drew criticism in the United States even though it was a sign of respect in Japan. That photo made me realize how differently a greeting can be read depending on where someone comes from, so I designed a spiral staircase where visitors pass through the pose of a greeting from a different culture at each turn, from a namaste to a curtsy. I made each greeting panel from transparent colored sheets so every culture would cast its own light across the steps, and I wanted empathy to feel like something earned by taking part in customs that differ from our own, which is why the top can only be reached after moving through every one. At the top, two figures lie beneath projected stars, since the elements that make up every human body were first formed in stars, and looking up at the night sky is one of the few experiences people from every culture share.

Temporal Phase

I created this piece after recognizing the toll that chronic poor-quality sleep was taking on my daily life. For six weeks, during the spring, I tracked the hours of sleep I got every day, alongside the corresponding moods and emotional spikes I experienced the following day. This investigation led me to examine the physiology of rapid eye movement (REM) sleep and how brain waves manage our mental and physical focus. On the grounds of the piece, I used coarse pumice to create a ripple effect that mimics how the body reacts to tension. The total hours I slept are represented by the series of pins on the left side, pulling on a string to indicate whether each day trended positive, neutral, or negative.

Oasis of Self

This painting was inspired by my reflection on the passing of time. The candle, pearl, and parched desert all reflect various evidence of durations in their respective cycles. I tried to compose this work to evoke the feeling of contemplating these thoughts rather than creating a singular setting.

Misura

Misura means “measure” in Italian, and I named the brand after it because almost every family measures pasta by its own standard, deciding for itself how much goes in the pot and which shape to cook. I built the logotype from pasta shapes and gave it a stamped, hand-printed texture so the brand would feel handmade, like a meal cooked at home. Each package has die-cut windows shaped after the pasta inside, which lets shoppers see what they’re buying and turns the product into part of the design. The pasta itself is also promised to be organic, drawing from natural ingredients that are healthy. I extended the identity into a set of characters whose hair and features are made from pasta, so each shape could feel like a different person at the dinner table, and I kept the color palette bold enough to stand out on a grocery shelf or a billboard.

Relational Self-Portrait

I often wonder who I am once I take away the labels that seem to matter most, like my grades and my test scores. When I tried to answer that question, every word I came up with described me in relation to something else, whether it was a person I love or the world I live in, so I built this self-portrait out of those words, each one placed in its own square. I sculpted some of the squares so they push out from the canvas, since certain roles feel closer to me depending on the day, and I left others empty for the ones I haven’t grown into yet. The clouds painted behind the grid stand for the parts of me that no single word can hold, and together everything on the canvas adds up to more than any score could measure.

Free Period, Figure Drawing

I drew my friend Ryan during a free period after asking if I could sketch him, since I liked the way he was stretched out across two chairs with a book. While I was drawing, he started to act like he was falling asleep, so I kept sketching the comical positions he settled into. I used a different sheet of colored paper and a pastel pencil for each drawing, and I added the white highlights afterward.

Looking through the Lens
of Legacy

I created this painting as a submission for the Lowell Milken Center for Unsung Heroes Commpetition 2025. I chose Isabella Aiona Abbott to be my subject because

Finalist Award

Asian American Youth Alliance Brand Identity

I joined Asian American Youth Alliance (AAYA) as a volunteer visiting dementia care homes, and now that I lead the organization as President, I felt that designing an identity would help signal the organization’s tone of genuine caregiving. I used blocky elements to create the logo to help signal a building-block connection between the youth and the elderly in a playful, inviting way. I extended the brand identity to a variety of implementations such as mugs, T-shirts, and ID cards that would be available to AAYA members.

As We Progress

I painted this piece in reflection of my growing concerns that climate change is often forgotten or overshadowed by overconsumption. I painted with thick oils to emphasize the melting effect.