a birthright, an obligation, all the same is a continuation of a series focusing on the representation of ‘Kisaengs’ in late 18th century and early 19th century Korea. The English description of these Korean women makes it tempting to tell that these girls are equivalent to Japanese Geishas. However that analogy is more oblique than direct. Their history and place in Korean society was quite different from that of the geisha in Japanese society. Jangs work aims to capture the intensity, struggle, and overlooked contributions of Asian American history starting with the increasingly subjected external pressures from imperialist powers such as Japan, China and the United States. In hope that such representation builds toward a future that provides an overall richer history. Together they create a wider scope of Western art history, and break what could be a perceived state of historical generality.

Marked within the layers of Insil Jang’s printmaking practice is a haunting and remarkable observation of human conflict. Jang uses family photos, as well as appropriated images from institutional archives to narrow in on cultural identity of the past and the present, causing forgotten inequalities and casualties to surface. Viewing Jang’s work is to see through a lens that is deep, touching, and human.

Insil Jang received her BFA with an emphasis in painting and printmaking at The Art Institute of Chicago in 2015. Jang’s work has been presented in solo exhibitions at CICA Museum, South Korea in 2019 and A Hyphenated Identity at Launch F18, New York City (2021). She has participated in several group exhibitions including Mood Disorders Association of Ontario, Toronto, Canada (2015); SUGS Gallery, Chicago (2015); FMK 5X5 Locallective, Chicago (2016); Studio Oh, Chicago (2016); NFT Gallery, New York City (2017); Death Dive, Launch F18, New York City; 10 Year Anniversary, Launch F18: New York City (2021) Jang currently works and lives in Brooklyn, New York.

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