Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

ALLI GELLES

Alli Gelles - IRL Gallery Press Release3020-Edit-Edit-Edit.jpg

BRET SHIRLEY

IMG_2369_edited_edited.jpg

BRIAN CLOSE

Copy of BC_IRL___A.jpg

CAI RUEI-HENG

Screen Shot 2021-11-13 at 12.36.00 PM.png

CASH4

IMG_4329.jpeg

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Screen Shot 2022-01-17 at 11.04.28 AM.png

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

dreams.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_0257 (1)_edited.jpg

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Copy of Douglas de Souza_22-3-2022_Ph Julia Thompson_1 (1).jpg

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_0198_edited.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Copy of fullsizeoutput_628f.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Madeline Kahn.png.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_3672_HEIC.png.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

JEAN-MICHEL

Screen Shot 2022-06-22 at 2_13_06 PM.png.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

KEVIN FORD

44435e_639deb58609f4b3fadd56b8a85f28529~mv2.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

D2C704B2-899F-4AB6-8F67-51DE9C0107BF_edited.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

100cmx100cm-Acrylic-on-linen-5100.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Goose, 12x10 in, acrylic on canvas.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

100cmx100cm-Acrylic-on-linen-5100-1.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_4619_edited.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

LUISA ALCANTARA

IMG_5584_edited.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Soilbag-with-fertilizer-2022-18x24-acrylic-on-panel-1200_edited.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_1271_JPG.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

IMG_8581.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

100cmx100cm-Acrylic-on-linen-5100-1.jpeg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

AZ#1406 (NF) Fucking, Running, Laughing copy.jpg.webp

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

devlin_edited.jpg.webp
Screen Shot 2022-06-22 at 2_13_06 PM.png.webp
IMG_0931.JPG

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

PATRICK QUINN

FullSizeRender-5_edited.jpg

Chun (* 1996 in Hanoi, Vietnam as Ngọc Hà Phạm; lives and works in Vienna) ranks among

that circle of innovative artists who are currently preventing the Austrian stasis of

contemporary painting. After moving to Vienna in 2015 without much life experience or

familiarity with German, he began his computer science studies at Vienna University of

Technology in 2018. In a creative paradigm shift, a year later he joined the art and fashion

school Herbststrasse before entering the renowned fashion design program at the University

of Applied Arts Vienna. The direct involvement with textiles and embroidery there led him

into a painterly practice in its holistically broadest sense. For this reason, he has been studying

not only fashion design but contextual painting at the Academy of Fine Arts Vienna since

2021.

Chun’s works renounce the limitations of painting as a classical genre, replacing its

foundational traits while advancing its concept in a profoundly unparalleled manner: As an

intermediary conveyor between two and three dimensions, textile art subjugates itself to

painting, generating works that inherit the form of meticulously coded hidden images that

systematically guide the gaze and potently engage the whole spectrum of human perception.

Connecting individual perceptive factors into a universal grid of pictorial efficiency, Chun

operates a distinctive set of aesthetics that negotiates traditional references from art history

while similarly incorporating collective memory moments from digital or analog popular

media. His subjects are inextricably linked with childhood experience, visionary fantasies and

nightmares made tangible through challenging our senses, thus providing a sub-subjective

comprehensibility to the most immediate and personal experiences. Consequently, the optics

of the surface and the haptics of materials are particularly decisive for Chun's practice. His

equitable and inseparable utilization of repurposing fabric off-cuts and industrial embroidery

dissolves the pseudo-divergence between mass manufacturing and manual labor.

 

(Teresa Kamencek, 2022)

Aerial Bride No_2.jpg.webp