The Interval Between

Curated by Jenny LEE, Jason CHI

The Interval Between

Being as a Woman

Being as a Woman emerges from Julia Hung’s ongoing inquiry into the tension between identity, expectation, and the structures that define womanhood. Hung has long employed techniques historically coded as “female domestic labor”—cooking, ironing, baking, crocheting, and weaving—not to fulfill prescribed roles but to subvert and reframe them. These actions become tools for questioning social value, ephemerality, and the philosophical conditions of being. Through ironing discarded plastics and weaving enameled copper wire, she transforms humble, overlooked materials into sites of existential and cultural reflection.

In this new woven sculpture, layered abstract biomorphic forms hover between organic growth and emotional entanglement, evoking both resilience and vulnerability. The title reflects a distinction central to Hung’s experience: being a woman as a biological identity, versus being as a woman as a role shaped by expectations that can feel imposed, unnatural, or incomplete. Through this work, she examines how femininity is performed, resisted, and continually redefined.

Wisps and Whispers

I imagine the night as I weave, with threads as delicate as drifting mist. Suspended in the still air, they form tiny universes cloaked in darkness, where they are both observers and observed.

Darkness softens everything it touches, while silence sharpens the subtlest details and thoughts.

Light fades into a pale brilliance, softly illuminating the flow of time.

In the shadows, all things merge and silently transform, and the rhythms of life are hidden, inaudible.

The boundaries between dream and reality, presence and absence, blur and nearly diffuse. In the depths of darkness, when time feels frozen, it seems to cradle eternity—yet these universes slip away like phantoms, vanishing as quickly as they appear.

Déjà Vu

“Déjà vu is simply remembrance of the future.” — Wayne Gerard Trotman

Most of us have encountered an uncanny sense of familiarity toward people, places, or moments we have never actually experienced. Mystics call this precognition; science frames it as delayed neural processing or the echo of a fragmented memory—a phenomenon named déjà vu in 1876 by Émile Boirac.

In the Déjà Vu series, Julia Hung extends her ongoing inquiry into free will. Guided by intuition, she weaves flexible copper wire into delicate, web-like sculptures that seem to drift between states—expanding, collapsing, and re-forming.

These works exist in the liminal space between freedom and constraint, linear and cyclical time, fate and agency—inviting viewers to encounter the moments where memory and foresight collide, challenging our assumptions about causality, temporality, and the autonomy of choice.