Solo Exhibitions (Brief)

Beginning with 《LA-Sung》 (Yangju 777 Gallery, Yangju, 2017), Hyeree Ro has continued to explore themes such as the memory of migration, the clash between body and language, and the materiality of objects through solo exhibitions including 《Jinhee》 (Project Space Sarubia, Seoul, 2022), 《Niro》 (Canal Projects, New York, 2024), and 《August is the cruelest》 (DOOSAN Gallery, Seoul, 2025).

Group Exhibitions (Brief)

Ro participated in numerous group exhibitions at both domestic and international institutions, including 《Art Spectrum》 at Leeum Museum of Art (2022), as well as Ilmin Museum of Art, the National Museum of Modern and Contemporary Art in Cheongju, HITE Collection, and Akiyoshidai International Art Village. More recently, she has actively engaged in collaborative and cross-cultural projects with multinational artists at venues such as AHL Foundation Gallery (New York), Billytown (The Hague), Sulim Cube (Seoul), and Subtitled NYC (Brooklyn).

Awards (Selected)

In 2020, she received the Susan H. Whedon Award from Yale University. She was later selected for several international support programs, including the Emerging Artist Grant from the Leema Holtmann Foundation (New York, 2023) and the Jenny Crane Grant (New York, 2024). Ro has also been a recipient of multiple grants from the Seoul Foundation for Arts and Culture and the Arts Council Korea.

Residencies (Selected)

Ro was selected as a resident artist at the Nanji Residency of the Seoul Museum of Art for 2025. She has also completed residencies at the NAS Foundation International Residency (Brooklyn, 2022), the Field Projects Ceramic Residency (Brooklyn, 2023), and the Yangju 777 Residency (2017–2018), among others, both in Korea and abroad.

Originality & Identity

Hyeree Ro’s practice begins with personal experience and expands into questions about mobility and the formation of relationships. Having grown up between Seoul and the United States, the artist’s life provides a point of departure for reflecting on the fluid nature of identity formed across different cultural and social environments. In Ro’s work, identity emerges less as a fixed state than as a process shaped and continually transformed through shifting relationships and contexts.
 
This interest appears through an exploration of how memory and experience are structured. Rather than presenting personal memories, family histories, or experiences of migration through direct narrative, Ro constructs situations in which objects, bodies, and language intersect. Within these configurations, memory unfolds not as a completed story but as something continually reorganized through sensory encounters and relational dynamics.
 
In Ro’s work, mobility signifies more than physical movement. It functions as a structure through which relationships between individuals and communities, language and bodies, and objects and memory are formed and transformed. Through this perspective, personal experiences extend toward broader questions surrounding mobility and boundaries in contemporary society, prompting reflection on the relationship between individual lives and social conditions.
 
Ultimately, Ro’s work can be understood as an inquiry into the intersection of personal memory and social experience. Through situations in which objects, bodies, and spaces form shifting relationships, the artist reveals the structures through which experience takes shape, while sensitively articulating the tensions between personal life and its surrounding social environment.

Style & Contents

Hyeree Ro works across a wide range of media, including sculpture, installation, performance, and video. This expansion across media operates less as a formal experiment than as a method for examining the relationships between objects, bodies, and language. Depending on the situation, the artist combines different media to construct environments in which objects, space, and movement operate together.
 
A central element in Ro’s practice is the rearrangement of objects. Everyday materials and objects are placed into new relational contexts, allowing their physical and sensory qualities to emerge. Through texture, weight, sound, and form, these objects invite viewers to reconsider their sensory engagement with material things.
 
Ro’s work also unfolds through its relationship with the body. In performances and works involving movement, objects function as mediating elements that interact with bodily action. Within these interactions, objects operate not as static forms but as elements that shift and transform through time and motion. The relationship between object and body becomes a central structure through which the work takes shape.
 
In recent works, these formal characteristics expand into spatial installations. Combinations of objects, structures, texts, and movement create environments in which relationships are formed rather than fixed images. Within these spaces, viewers encounter the work by tracing the interactions between objects and bodies, gradually perceiving the experiential structures that the installation generates.

Topography & Continuity

Hyeree Ro’s practice has evolved through shifts in medium and form. Early interests rooted in performance gradually extended toward sculptural installations and video works, and more recent projects bring together objects, bodies, and space within complex installation environments. Despite these transformations, an ongoing investigation into the relationship between objects and bodies continues to shape the core of her practice.
 
The movement and accumulation of objects also play an important role in Ro’s work. Many of the objects that appear in her installations are gathered from different places or carried over from previous works, forming networks of relationships within the artist’s practice. Through this movement of materials, the works reflect how memories and experiences accumulate over time.
 
Ro’s work also maintains a sustained engagement with the relationship between personal experience and broader social contexts. Drawing on elements such as family histories or experiences of migration, the artist examines how memory is formed and how experiences become shared. In this process, the work creates an open structure that allows viewers to project their own experiences onto it.
 
In this sense, Ro’s practice can be understood less as the production of a finished object than as the construction of a field in which relationships emerge. Through the shifting connections between objects, bodies, and space, her work continuously generates new meanings while exploring the points where personal experience and contemporary conditions intersect.