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<channel>
	<title>won archive</title>
	<link>https://wonarchive.com</link>
	<description>won archive</description>
	<pubDate>Fri, 14 Aug 2026 07:24:09 +0000</pubDate>
	<generator>https://wonarchive.com</generator>
	<language>en</language>
	
		
	<item>
		<title>About</title>
				
		<link>https://wonarchive.com/About</link>

		<pubDate>Tue, 10 May 2022 02:02:08 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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		<description>About


	

Statement



	류 원철 (Wonchul Ryu) is an interdisciplinary artist whose work explores (mis)translation, cultural displacement, and the fragile nature of memory. Defining himself as a “resident alien” in Baltimore, Ryu examines the experience of existing between spaces—never fully belonging “here” nor entirely “back home.”

In his recent works, Ryu manipulates shipping materials and digital tools— 3D scanning, 3D printing, and Google Translate—to explore his migrant experience in the United States alongside his grandfather’s history of displacement from North to South Korea. He engages with personal and institutional artifacts, reflecting on how objects hold and reveal the psychological weight of dislocation. 

Ryu’s sculptures and installations challenge the Euro-American standard of whiteness and critique its cultural implications. The artworks, built from shipping materials and digital replicas, claim spaces between cultures, making the struggles of adaptation and loss visible.&#38;nbsp;

	
 



	Bio
	Wonchul Ryu (b. Seoul, South Korea) is an interdisciplinary artist working across sculpture, installation, and video. His work explores memory, identity, and cultural translation, often employing shipping materials and digital tools, including 3D scanning and machine translation, to investigate the tensions between visibility and invisibility.

Ryu has exhibited internationally, including a solo exhibition at Yangcheonri Gallery in Seoul, and group exhibitions in Baltimore, Maryland, and Los Angeles, California, including The Walters Art Museum and The Bridge Arts Foundation. He was a 2025 Janet &#38;amp; Walter Sondheim Art Prize Finalist and a recipient of the Ellen Battell Stoeckel Fellowship at Yale Norfolk School of Art.



	 


CV
	pdf
Contact
	wonchulryu.dc@gmail.com</description>
		
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	<item>
		<title>Recent Works (ver2) (Thumbnails)</title>
				
		<link>https://wonarchive.com/Recent-Works-ver2-Thumbnails</link>

		<pubDate>Thu, 25 Apr 2024 18:37:50 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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		<description>
	Recent Works

	

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	<item>
		<title>Yesterday Yet to Come 2 (다가올 어제 2) (昨日将至 2)</title>
				
		<link>https://wonarchive.com/Yesterday-Yet-to-Come-2-2-2</link>

		<pubDate>Fri, 14 Aug 2026 07:24:09 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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Yesterday Yet to Come 2 (다가올 어제 2) (昨日将至 2)































Year:
2025
Material: False bamboo, bamboo chapstick, bamboo, 3d print, bobbin, pallet, container, gesso, plaster, cable tie, video, construction lumber, Simpson's tieInstrumentation: Cassette Tapes and Live Electronics 
Size: 15' x 12' x8' , 10min performance &#38;nbsp;

 







	This collaborative installation by Wonchul Ryu and Yanqi Chen considers Asian identity as a continual reconfiguration shaped by migration, adaptation, and misrecognition. Ryu’s sculptural elements form a scattered landscape of pallets and disposable containers. 


From this ground, bamboo, false bamboo (Asian knotweed), and mass-produced bamboo chopsticks rise, bound together with cable ties. Bamboo evokes familiar images of “Asia.” False bamboo, an East Asian plant classified as invasive in the United States, points to misrecognition. Disposable chopsticks project a consumable image of Asianness. Together, these materials suggest an Asian identity shaped by the entanglement of origin, consumption, and misrecognition. 


At the center of the installation, Yanqi Chen performs live electronic sound using cassette players. Her performance draws from field recordings, radio broadcasts, songs in her first language, and anonymous voices preserved on cassette tapes from the 1980s. 


Layered and manipulated in real time, these sonic fragments circulate between past and present, intimacy and distance. Ryu’s A two-channel video projected onto separated folding screens extends this circulation across sound, image, and space, allowing translation to remain partial and unresolved. 






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		<title>설 (Family Gathering) 1</title>
				
		<link>https://wonarchive.com/Family-Gathering-1</link>

		<pubDate>Sun, 08 Jun 2025 11:38:34 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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설 (Family Gathering) 1































Year:
2025Medium: 3D scan data from South Korea, 3D print (PLA) from Baltimore, crate, brickSize: 4' x 8.25' x 2.5’Photo Credits: Wonchul Ryu, The Walters Art Museum 

 







	Ryu asked his family in Korea to scan ritual objects from his grandfather’s memorial service. The resulting PLA prints act as stand-ins for the originals, much like how plastic household objects replaced costly materials in his family’s immigrant experience.

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	<item>
		<title>설 (Family Gathering) 2</title>
				
		<link>https://wonarchive.com/Family-Gathering-2</link>

		<pubDate>Sun, 08 Jun 2025 11:38:42 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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&#60;img width="2976" height="1984" width_o="2976" height_o="1984" data-src="https://freight.cargo.site/t/original/i/a486c4dc30ddcf000ecc09d8a2dc5a17657ab222268138e4e70c9a30f81b89ed/IMG_2749-2.jpg" data-mid="234311640" border="0"  src="https://freight.cargo.site/w/1000/i/a486c4dc30ddcf000ecc09d8a2dc5a17657ab222268138e4e70c9a30f81b89ed/IMG_2749-2.jpg" /&#62;


	

설 (Family Gathering) 2































Year:
2025Medium: 3D scan data from South Korea, 3D print (PLA) from Baltimore, pallet, construction lumber, brickSize: Dimension Variable

 







	Ryu asked his family in Korea to scan ritual objects from his grandfather’s memorial service. The resulting PLA prints act as stand-ins for the originals, much like how plastic household objects replaced costly materials in his family’s immigrant experience.

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		<title>제기 1 (Offering Stand)</title>
				
		<link>https://wonarchive.com/1-Offering-Stand</link>

		<pubDate>Sun, 08 Jun 2025 11:40:03 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

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제기 1 (Offering Stand)































Year:
2025Medium: resin 3D printSize: 6" x 6" x 3.75"Photo Credits: Wonchul Ryu, The Walters Art Museum 

 







	Ryu 3D scanned and reproduced ritual objects from the Walters Art Museum’s Korean collection as a means of reflecting on and questioning how institutions shape cultural narratives. Specifically, he considers what is lost in the display process. 

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		<title>제기 2 (Offering Bowl)</title>
				
		<link>https://wonarchive.com/2-Offering-Bowl</link>

		<pubDate>Sun, 08 Jun 2025 11:40:10 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

		<guid isPermaLink="true">https://wonarchive.com/2-Offering-Bowl</guid>

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제기 2 (Offering Bowl)































Year:
2025Medium: resin 3D printSize: 5.75" x 6" x 3.25"Photo Credits: Wonchul Ryu, The Walters Art Museum 

 







	Ryu 3D scanned and reproduced ritual objects from the Walters Art Museum’s Korean collection as a means of reflecting on and questioning how institutions shape cultural narratives. Specifically, he considers what is lost in the display process. 

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		<title>흰 바람벽 4 ((Un)Becoming White 4)</title>
				
		<link>https://wonarchive.com/4-Un-Becoming-White-4</link>

		<pubDate>Sun, 08 Jun 2025 11:44:35 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

		<guid isPermaLink="true">https://wonarchive.com/4-Un-Becoming-White-4</guid>

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흰 바람벽 4 ((Un)Becoming White 4)































Year:
2025Medium: shipping box, graphite, 2x4, poly twine, sound, speaker
Size: 12’ x 8.5’ x 0.5’Photo Credits: Wonchul Ryu, The Walters Art Museum 








	 On the shipping boxes, Korean-accented English is repeatedly written in Korean. These phrases, drawn from English study examples used in Korea, visualize the physical act of language acquisition—how the body remembers, adapts, and resists.The "white" in the title refers not only to the Western ideal of whiteness—institutional authority, linguistic norms, and cultural centrality—but also to Korean history. 
During the Japanese occupation, wearing white clothing became an act of resistance, a way to assert cultural identity under colonial rule.

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		<title>Banana Is Yellow. 2</title>
				
		<link>https://wonarchive.com/Banana-Is-Yellow-2</link>

		<pubDate>Sun, 08 Jun 2025 11:44:35 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

		<guid isPermaLink="true">https://wonarchive.com/Banana-Is-Yellow-2</guid>

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Banana Is Yellow. 2































Year:
2025Medium: Banana peel, hemp rope, cable tieSize: Dimension Variable

 







	

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	<item>
		<title>Egress</title>
				
		<link>https://wonarchive.com/Egress</link>

		<pubDate>Sun, 10 Oct 2021 13:29:54 +0000</pubDate>

		<dc:creator>won archive</dc:creator>

		<guid isPermaLink="true">https://wonarchive.com/Egress</guid>

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	Egress



















Year:
2023&#38;nbsp;Medium: paper boats gathered from the college community, a college buildingSize:&#38;nbsp;49.5’ x 56’ x 34.5’Photo Credits: Wonchul Ryu, The Walters Art MuseumPhoto Credits: @alainalurryphoto







	

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