Volossom originated from artist, InJung Oh. Oh received her MFA in 2009 from the School of the Art Institute of Chicago, and has exhibited widely in Chicago and abroad. Working primarily as a painter, Oh has developed the concept Volossom, at once motif, philosophy, and generative process for her work. Volossom embodies the tension between chance and control in art: the prefix “vol,” rooted in the Latin word voluntas (to will), anchors the term to intentionality and aspiration, while “blossom” is a kind of energetic automatism, bringing to mind self-precipitating forms found in nature. Oh’s work incorporates antlers, erupting volcanoes, and blooming flowers – visually captivating forms that grow and develop as part of natural, unconscious processes. The unpredictable growth inherent in these forms reflects her attitude towards painting as a way of opening up towards others, the expression of an inner state made intelligible via oil on canvas. As a visual motif, the Volossom resembles both a flower in bloom and a slender leg extending from a dress, an uplifting symbol of future promise (voluntas is derived from velle, “to wish”) that reflects Oh’s characterization of the form as the manifestation of one’s will or desire.

Since introducing Volossom ten years ago with her painting King and I (2005), Oh has grown the concept into a platform www.Volossom.com for visual art, design, and social practice, separating Volossom from her studio work. She is focused now on experimenting with new materials and means of display, using a series of new canvas studies to investigate and taking chances of the possibility of freezing transitory moments between stillness and the movement, as well as painting and sculpture www.injungoh.com.

Yechen Zhao, 2016
Program Manager
The Arts Club of Chicago

InJung Oh presents an ethereal world of buoyant flower forms floating in rich, splashing colors. At once both striking and subtle, her effulgent paintings draw the viewer deep into a world of vibrant color and lightness of being. But their beauty belies a deep inner structure of cerebral complexity. The prevalent flower motif took inspiration from an artistic and linguistic journey: while painting a picture that incorporated an eruptive volcanic form, her etymological interest was piqued, and she discovered the prefix “vol” expressed a wish or a will. Thus conflating “vol” with the botanic expression of “blossom”, she coined the term Volossom- an epigram of desire, achievement, and imagination through free will.

These Volossom, each of their own identity (such as Reflection, Gaze, Whisper…), transform into atmospheric fantasies. First glance, the volcanic flower forms seem devoid of human presence. Yet a penetrating study reveals the delightful insertion of the female form. The flower stems are in fact a graceful, svelte feminine leg—that of the artist herself? Ms. Oh leaves this decision up to the viewer, but certainly the essence of her artistic enterprise arises from her physical and intellectual presence. It is indeed the seen and unseen we witness –the hallmark of an artist and of this talented young painter.

Korean-born, Ms. Oh moved with her family to the United States as a teenager. Her artistic skill recognized by her high school teachers, she went on to earn a BFA and MFA from the School of the Art Institute of Chicago. She has shown her work throughout the world, from Turin to Taipei. This international proclivity colors and shapes her oeuvre, conjuring up possibility and an awakening of previously dormant desires. According to Ms. Oh, “We all have Volossom inside of us, it’s up to each person to express it.”

Sally Metzler, Ph.D. 2016

Director, Art Collection of the Union League Club of Chicago. 

Based on Oh’s personal life stories, experiences, observations, hopes and dreams, Volossom: First Decade at the Zhou B Art Center, sets the stage for a undisclosed conversation about the clashing of cultural narratives, power struggles, social structures, power roles and the challenge to create balance in a non-perfect world.

Over the years, Oh’s inspiration has come from the clashing of cultural energies she has witnessed within society. She is determined to find harmony between the sexes and cultural challenge using dynamics symbolism. Coming from a dual cultural background, Oh naturally identifies with the complexity of societal and hierarchical issues and uses symbolism to expand on her own experiences in intercultural society.

As part of Oh’s solo exhibition, the Thousand Wish Project will be an important element in the ongoing transformation of Volossom. It’s visionary idea for a wishful world has transcended from the artist’s own studio and into the local community. The Thousand Wish Project is an ongoing interactive visual workshop, which encourages participants to explore, articulate and give shape to a latent wish or desire using creative art mediums. The collective and diverse visual wishes will ultimately create a united voice.

Oh’s artistic practice reflects a personal journey of self-discovery. She has managed to make peace with her dual identities and accepts the dissimilarity. Oh received her MFA from The School of the Art Institute of Chicago in 2009 and has had solo exhibitions at Ed Paschke Art Center and Zhou B Art Center in Chicago, MIIT Museum in Turin, Italy and Bluerider Art Gallery in Taipei, Taiwan. Reviews of her work have been featured in Italia Arte Magazine, China Times and China Post and her work is in numerous private collections. She is a resident artist of the Zhou B Art Center.

Sergio Gomez
Exhibition Director
Zhou B Art Center

Volossom originated from artist, InJung Oh. Oh received her MFA in 2009 from the School of the Art Institute of Chicago, and has exhibited widely in Chicago and abroad. Working primarily as a painter, Oh has developed the concept Volossom, at once motif, philosophy, and generative process for her work. Volossom embodies the tension between chance and control in art: the prefix “vol,” rooted in the Latin word voluntas (to will), anchors the term to intentionality and aspiration, while “blossom” is a kind of energetic automatism, bringing to mind self-precipitating forms found in nature. Oh’s work incorporates antlers, erupting volcanoes, and blooming flowers – visually captivating forms that grow and develop as part of natural, unconscious processes. The unpredictable growth inherent in these forms reflects her attitude towards painting as a way of opening up towards others, the expression of an inner state made intelligible via oil on canvas. As a visual motif, the Volossom resembles both a flower in bloom and a slender leg extending from a dress, an uplifting symbol of future promise (voluntas is derived from velle, “to wish”) that reflects Oh’s characterization of the form as the manifestation of one’s will or desire.

Since introducing Volossom ten years ago with her painting King and I (2005), Oh has grown the concept into a platform www.Volossom.com for visual art, design, and social practice, separating Volossom from her studio work. She is focused now on experimenting with new materials and means of display, using a series of new canvas studies to investigate and taking chances of the possibility of freezing transitory moments between stillness and the movement, as well as painting and sculpture www.injungoh.com.

Yechen Zhao, 2016
Program Manager
The Arts Club of Chicago

InJung Oh presents an ethereal world of buoyant flower forms floating in rich, splashing colors. At once both striking and subtle, her effulgent paintings draw the viewer deep into a world of vibrant color and lightness of being. But their beauty belies a deep inner structure of cerebral complexity. The prevalent flower motif took inspiration from an artistic and linguistic journey: while painting a picture that incorporated an eruptive volcanic form, her etymological interest was piqued, and she discovered the prefix “vol” expressed a wish or a will. Thus conflating “vol” with the botanic expression of “blossom”, she coined the term Volossom- an epigram of desire, achievement, and imagination through free will.

These Volossom, each of their own identity (such as Reflection, Gaze, Whisper…), transform into atmospheric fantasies. First glance, the volcanic flower forms seem devoid of human presence. Yet a penetrating study reveals the delightful insertion of the female form. The flower stems are in fact a graceful, svelte feminine leg—that of the artist herself? Ms. Oh leaves this decision up to the viewer, but certainly the essence of her artistic enterprise arises from her physical and intellectual presence. It is indeed the seen and unseen we witness –the hallmark of an artist and of this talented young painter.

Korean-born, Ms. Oh moved with her family to the United States as a teenager. Her artistic skill recognized by her high school teachers, she went on to earn a BFA and MFA from the School of the Art Institute of Chicago. She has shown her work throughout the world, from Turin to Taipei. This international proclivity colors and shapes her oeuvre, conjuring up possibility and an awakening of previously dormant desires. According to Ms. Oh, “We all have Volossom inside of us, it’s up to each person to express it.”

Sally Metzler, Ph.D. 2016

Director, Art Collection of the Union League Club of Chicago. 

Based on Oh’s personal life stories, experiences, observations, hopes and dreams, Volossom: First Decade at the Zhou B Art Center, sets the stage for a undisclosed conversation about the clashing of cultural narratives, power struggles, social structures, power roles and the challenge to create balance in a non-perfect world.

Over the years, Oh’s inspiration has come from the clashing of cultural energies she has witnessed within society. She is determined to find harmony between the sexes and cultural challenge using dynamics symbolism. Coming from a dual cultural background, Oh naturally identifies with the complexity of societal and hierarchical issues and uses symbolism to expand on her own experiences in intercultural society.

As part of Oh’s solo exhibition, the Thousand Wish Project will be an important element in the ongoing transformation of Volossom. It’s visionary idea for a wishful world has transcended from the artist’s own studio and into the local community. The Thousand Wish Project is an ongoing interactive visual workshop, which encourages participants to explore, articulate and give shape to a latent wish or desire using creative art mediums. The collective and diverse visual wishes will ultimately create a united voice.

Oh’s artistic practice reflects a personal journey of self-discovery. She has managed to make peace with her dual identities and accepts the dissimilarity. Oh received her MFA from The School of the Art Institute of Chicago in 2009 and has had solo exhibitions at Ed Paschke Art Center and Zhou B Art Center in Chicago, MIIT Museum in Turin, Italy and Bluerider Art Gallery in Taipei, Taiwan. Reviews of her work have been featured in Italia Arte Magazine, China Times and China Post and her work is in numerous private collections. She is a resident artist of the Zhou B Art Center.

Sergio Gomez
Exhibition Director
Zhou B Art Center