In Other Words: Rachel Hsu & Eunhoo Jo
Runs / September 4-November 1, 2026
Opening Reception / Friday, September 4, 6-9 PM
First Friday Reception / Friday, October 2, 6-9 PM
Hours: Sat-Sun from 2-6 PM
What happens to what we cannot quite say? This September, Grizzly Grizzly presents In Other Words, bringing together Rachel Hsu and Eunhoo Jo – two artists who work in the voids and slippages of language, where words fail those living at the edges of belonging, and where the body testifies to what speech cannot hold. Across video, sculpture, and drawing, the exhibition treats mistranslation, silence, and the unsayable not as failures to be corrected but as conditions to be felt.
In How Beautiful You Are (2021, remastered 2026), Rachel Hsu builds a work almost entirely out of language. A recorded voice moves between tongues, slipping from one into another mid-thought, so that the sense of what is said lives in the switching itself—in the seams where two languages meet and neither quite holds the whole of a feeling. The video withholds any image; white text drifts against black, and meaning is staked entirely on language and its gaps.. What surfaces is a kind of oral history, carried in the body and passed across distance: faithful less to the dictionary than to what was felt.
In SWEET NOTHINGS (FEAST YOUR EYES) (2023), Hsu turns the strain of understanding into something felt in the body. Cast in white sugar and mounted against the gallery’s white wall, the work reimagines an eye chart whose repeating text nearly dissolves into its surface. In the effort of reading it, the idiom “feast your eyes” begins to curdle—a phrase of pleasure tipping toward something more predatory. The piece questions the easy assumption that visibility is a good in itself, and the pressure on marginalized people to make themselves consumable: legible, palatable, easy to look at.
Seoul-based artist Eunhoo Jo draws what language cannot hold. Ghost Stenographer (2026), an ink drawing on washed cotton, works in a mode Jo calls forensic drawing: the work is made to function as evidence, standing in for the testimony that certain harms never leave behind. Jo is drawn to cases the world declines to recognize, where there is no admissible proof or usable statement. They link this silence to complex post-traumatic stress and the depersonalization it brings on–a numbed, dissociative condition that can make clear testimony impossible to give. Where speech fails, the drawing testifies: a record made in mark and gesture, bearing witness on terms the courtroom and the case file were never built to accept.
Jo composes these works from photographs of Seoul’s deserted lots and outlying edges, arranging them by instinct rather than design. Into them they fold grief that belongs to more than one person, drawing on the communal wounds carried by the city’s queer community, including the loss felt after the 2022 Itaewon tragedy. The question of what stays visible reaches all the way into the artist’s own body: a recent diagnosis affecting their sight lets them think through the literal “blind spot”--what sits just outside of the field of vision, present but unregistered, inherited yet unseen.
Together, these works treat testimony as something that exceeds the record. What is brushed aside, mistranslated, or ruled inadmissible does not disappear. Rather, it migrates – into a voice stripped of its interviewer, the ache of straining to read, the pressure of a pen. Both artists ask what it means to bear witness when the available languages were never built to hold the truth in the first place.
This project was supported by the K-Art Young Creators Support Program, funded by the Ministry of Culture, Sports and Tourism, Arts Council Korea (ARKO), and the Seoul Foundation for Arts and Culture (SFAC).
Artist Bios:
Rachel Hsu (b. 1992, Seattle, WA) is an interdisciplinary artist working across visual art, language, and poetry to engage themes of violence and care, grief and joy, loss and longing. She has exhibited nationally including Seattle, Philadelphia, and New York, and her writing has been published in literary magazines including Honey Literary. Her public sculpture, “The Weight of Our Living,” was commissioned by the Association for Public Art and the Parkway Council as the inaugural artwork for the annual arts initiative, Art on the Parkway in Philadelphia. She received an MFA in sculpture from the Tyler School of Art and Architecture (2021) and a BFA in sculpture from Western Washington University (2015). She lives and works in Philadelphia, PA.
Eunhoo Jo (b. 1991, Gwangju, South Korea) works under the name zozo. Working across video, text, painting, and installation, zozo traces the linguistic voids that open up around marginalization and abnormality: violence and death, madness and omens, the queer lives and bodies that societies keep taboo. Living with C-PTSD, they make work out of what cannot be structured as testimony. Solo exhibitions include Debris Song (Space:illi, Seoul, 2024) and Journey with the Inevitables (Space Mirage, Seoul, 2023), and in 2025 zozo took part in Bad Lament, an apexart Open Call exhibition presented in New York and Seoul. Recent grants include the K-Art Young Creators Support Program, Arts Council Korea (2026) and Support for Art Research Activities from the Seoul Foundation for Arts and Culture (2023). Based in Seoul.