Jill
Kyong

The cleanness is not absence; it is precision

Korean-born American artist working in the Pacific Northwest. Kyong builds in wood with restraint — reliefs and panels that carry the wood'''s bare grain alongside painted geometries that read like horizons. The economy is the point.

"Through observations of nature and the world around us, my work centers on quiet moments that give us hope. I create minimalist art to put an object of beauty into the world and bring us together." Kyong'''s statement reads as a working method: the work doesn'''t shout, it stands. Still Standing is exactly what its title says — a panel of dark vertical bars rising from a horizon line, holding the room without insisting on it.

Her practice spans wall reliefs, freestanding sculpture (often paired with stones or natural elements), studio furniture, and oil painting. Where many artists working in wood let the material'''s drama do the talking, Kyong asks the wood to be quiet. The reliefs use birch panels — bright, even-grained, untextured — with painted forms in restrained palettes (navy, chartreuse, white, soft cyan) that introduce geometry without competing with the wood. The diptych Echo uses circular cutouts in birch as instruments for stillness; the oil painting For Good reads navy and white as horizon and snow, with one thin teal line and three red dots as the only event.

Kyong is represented at (, Idaho) and (Seattle'''s Pioneer Square neighborhood). Her solo show Between Spaces at ran May–June 2025. She maintains a longstanding interest in custom commissions — including the Idaho Table, a sculptural dining piece commissioned for an Idaho residence.