Thanks to 360 CHICAGO’s extensive renovation, guests visiting the observation deck on 875 N. Michigan Ave. (formerly the John Hancock Center) can experience site-specific visuals created by local female artists including Katie Chung. The Korean-American artist has added “Locals Only” to the CloudWalk, an outdoor viewing platform on the 94th floor. Rebellious Magazine chatted with the Chicago native about this project and more.
Janet Arvia: How did your mural “Locals Only” at 360 CHICAGO come about?
Katie Chung: I was approached by 360 Chicago to create a mural for their CloudWalk room. They gave me a tour and insight into the ideas behind this city attraction. As a Chicagoan, I admired the effort they put into featuring information about Chicago that exists beyond downtown. I immediately knew I wanted to use imagery of different Chicago neighborhoods. After some conversations with 360 Chicago I completed my concept.
What iconic imagery were you most passionate about including?
“Locals Only” is a mural inspired by the wide range of cultures, landmarks, and architecture that people encounter everyday in Chicago. The floor is illuminated with a pattern of red and blue six point stars that reference the Chicago flag. Each window illustrates different perspectives of Chicago neighborhoods. The bungalow homes in Jefferson Park, the entrance gate in Chinatown, the Little Village Arch, Alison Saar’s Monument to the Great Northern Migration in Bronzeville, and views from the Red Line train in Wrigleyville and the Green Line train stop in Garfield Park. I used bold graphics and bright colors to attract people to come inside and interact with the room. Everything was hand painted. If you look closely you can see the evidence of my hand and how much time and love that went into this mural.
You graduated from the Art Institute of Chicago (AIC) in 2014. Do you think a formal education and/or degree is needed to become an artist?
You don’t need a degree, but putting yourself through a formal education is a way to directly connect to a community and have access to facilities and equipment. It is also a place where you are challenged to share your art with others and learn how to communicate your ideas. If you choose to go to school it is your responsibility to make the most of the experience and find your path. The degree does not promise anything even when it is from a prestigious institution.
What artists have inspired you?
For this project specifically I drew a lot of inspiration from a book that I have on the artist Red Grooms. I was introduced to his lithograph prints when I was an intern in the AIC Prints and Drawings Room. I love how he portrays the character of NYC and his use of color. I have collected many artist books over the years, some of my favorites are about the Chicago Imagists, Roger Brown, H.C. Westermann, Josef Yokum, R. Krumb, Lynda Barry, Saul Bass, Paul Rand, the Memphis Group, I could keep going on and on. I’m also inspired by the art/design from my Korean heritage, such as the everyday nature of Minhwa folk paintings and Obangsaek, the traditional Korean colors.
You’ve said your work is influenced by mass produced images, including cartoons and comics.
I devour images from everywhere, all of the time. Whatever I see that I like, I consume. I especially love simple line drawings that clearly illustrate real life things, places and people. I grew up watching The Simpsons and collecting old children’s books and comics from the thrift store.
You’re a sculptress, illustrator, graphic designer, printmaker, bookbinder, and muralist. What are the pros/cons of being an interdisciplinary artist?
Making art gives me purpose, that is the best part. I use a variety of processes and mediums because I love working and thinking with my hands. The con of being an interdisciplinary artist is when I have to briefly explain what I do. Lately I am getting more confident in simply responding with, “I make art.” I am a complex maker with a wide range of skills and professional experiences. Actively sharing art with the public gives me consistent practice with the challenge of talking and writing about my art.
How does working in one medium affect the way you approach another medium?
All of my processes benefit each other when it comes to production. I adapt my knowledge of materials, tools and tricks from one medium to another so I can approach each project with efficiency, quality, and — my style.