ALISON BRADLEY PROJECTS

Press Release

526 West 26th Street, Suite 814 New York, New York 10001

Haji Oh, Mother Mountain, 2023, cyanotype on linen fabric+1 6 46.476.8409

Image reference: National Library of Australia, nla.obj-152972214“I regard weaving and unraveling as ways to evoke the existence of silent memory, introducing my own
concepts and ideas and creating spaces to stimulate people's imagination.”

ALISON@ALISONBRADLEYPROJECTS.COM-Haji Oh, 2023

Alison Bradley Projects is proud to announce Un / Weaving, the debut solo exhibition of Haji Oh
in the United States, curated by Eimi Tagore-Erwin. Oh (b. Osaka, 1976) is a third generation
Zainichi Korean artist, born and raised in Japan, now based in Wollongong, Australia. Oh developed
her own unique approach to the medium by incorporating traditional Korean sewing techniques,Japanese kasuri (ikat), hogushigasuri (warp printing ikat), and Guatemalan backstrap loom weaving.
Un / Weaving showcases a selection of 15 artworks representative of Oh’s oeuvre, surveying the artist’s
dynamic experimentations with textile as she has traced memory and migration through weaving,dyeing, stitching, photography, and cyanotype.

Oh’s extensive body of work gives expression to the inevitable silences that occur amongst diasporiccommunities that don’t easily fit into national histories. Drawing from the Latin word texere, meaning“to weave,” Oh likens the process of creating textiles to composing a text—she weaves threads together
to compose the structural space of memories that have been overlooked and forgotten, opening themup to the present.
Stemming from her grandmother’s migration to Japan from Jeju Island, South Korea, in the 1930s,
Oh’s early works combine portraiture and textile to reimagine the “unknowability” of her ancestral
past. Due to the generational distance between Oh and her grandmother, significant chapters of her
family’s immigration story were lost when her grandmother passed away in 2001. The artist learned
traditional sewing techniques in South Korea in order to reflect upon her identity as a Korean in Japan,
the unverbalized memories of her grandmother, and unresolved questions about her inherited past. Oh
has since expanded her work to include the voices of overlooked migrant communities of the Pacific,mirroring her own transpacific travels. In 2008, she traveled to Canada as a visiting scholar of York
University and interned at the Textile Museum of Canada in Toronto, leading her to create mixed
media works about the experiences of incarcerated Japanese-Canadian women during WWII, withimmersive sound components in both English and Japanese. Oh moved to Australia in 2014, where
her work gained a more global perspective and she began her ongoing Grand-mother Island Project
series, which traces the inherited and lost stories of migrant labor communities that have crossed thePacific Ocean. The exhibition includes three chapters of this project, including the first of Oh’s newsite-specific Seabird Habitatscapes series. Reconceptualizing the landscapes of islands that pepper thePacific, this new series reflects on the interconnectedness of resource extraction, imperialism, andmigration in a bold culmination of Oh’s experimentation with media.
Oh has spent two decades creating works that blur the framework of national boundaries, highlighting
the liminality of transpacific movement and the way that these movements are often erased by history.
Her body of work shifts seamlessly between the personal and global, but throughout, the memory ofher grandmother is deeply influential—as a grounding figure and as a metaphor for an inherited past.
Alison Bradley Projects is honored to bring Oh’s striking works to a wider audience in New York. In acity brimming with powerful, diasporic stories, Oh’s work gains new meaning. Un / Weaving: Haji
Oh is accompanied by an online catalog authored by Eimi Tagore-Erwin.

Artist Biography
Haji Oh is a Zainichi Korean artist from Osaka (b. 1976), living and working in Wollongong, Australiaand Japan. An accomplished international textile and fiber artist, Oh studied Dyeing and Weaving atthe Kyoto City University of the Arts, receiving her MA in 2002 and PhD in 2012. She was recently
awarded the Tokyo Contemporary Art Award (TCAA) for 2024-2026 and named as a finalist for theANTEPRIMA x Center for Heritage Arts and Textile (CHAT) Contemporary Textile Art Prize.
Oh’s recent exhibitions include KANTEN:観展 The Limits of History, apexart, New York 2023;
Roppongi Crossing: Coming & Going, Mori Art Museum, Tokyo 2022-23; TEXTURE, Canberra
Contemporary Art Space 2023; Publicness of the Art Center, Art Tower Mito, Japan 2019-2020;
Memories in Weaving, Oyama City Kurumaya Museum of Art, Japan 2019; Kanazawa: Altering
Home, Neighborhoods in Kanazawa City; and Wearing Memory, University of Wollongong, 2015. She
received the Han Chang-Woo-Tetsu Cultural Foundation Grant in 2011, and has completed artist
residencies at Art Tower Mito and Aomori Contemporary Art Center, Japan; and Bundanon andUniversity of Wollongong, Australia.
Curator Biography
Eimi Tagore-Erwin (b. 1991, USA) is curator and doctoral candidate of East Asian Studies at NewYork University. Her research focus is contemporary transpacific art engaging with colonial history,memory, and politics. Recent curatorial projects include KANTEN 観展: The Limits of History(apexart, 2023), Floating Monuments: Motoyuki Shitamichi (Alison Bradley Projects, 2023), and Fierce
Autonomy: Paintings by Yuki Katsura (Alison Bradley Projects, 2021). She was a 2023 CuratorialFellow at the Shigeko Kubota Video Art Foundation and a 2021 Wikipedia Fellow forPoNJA-GenKon and Asia Art Archive in America, where she focused on Japanese artists who have
faced censorship. She was raised between California, Hawai'i, and Japan, experiences that influence hercuratorial approach to transnational movement and collectivity.
For further information and appointments please contact claire@alisonbradleyprojects.com