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Minkyung Sung
Lives and works in London, UK
b. South Korea
CONTACT
minkyung.sung.mk@gmail.com
@minkyung_sung_mk
(Full portfolio available upon request / Enquiries welcome)
EDUCATION
2026–2027
MFA Fine Art, Ruskin School of Art, University of Oxford, UK
2023–2026
BFA Fine Art, Slade School of Fine Art, University College London, UK
First Class Honours
2022–2023
Fine Art Extension Degree, Goldsmiths, University of London, UK
AWARDS / COMMISSIONS
2026–2028
Selected Artist, Liberty Art Award, Liberty Specialty Markets, London, UK
2026
Urbanest x Acrylicize Art Prize Commission, London, UK
SELECTED GROUP EXHIBITIONS
2026–2028
Liberty Art Award Exhibition, Liberty Specialty Markets, 20 Fenchurch Street, London, UK
2026
Slade Degree Show, Slade School of Fine Art, University College London, UK
The Gleaners, hARTslane, London, UK
Autopoiesis, The Koppel Project, London, UK
2025
L’Âge d’Or, Hoxton Arches, London, UK
The Drift of the Floating Dock, 5 Skippers Yard, London, UK
Concurrence, The Koppel Project, London, UK
2023
Fine Art Extension Degree Show, Goldsmiths, University of London, UK
ARTIST BIO
Minkyung Sung is a Korean artist based in London.
Working across painting, sculpture and installation, Sung examines surfaces that appear stable but remain materially ongoing. Her practice is shaped by everyday domestic environments, overlooked architectural structures, and the choreographic labour of care, repair and habitation observed between London and Korea. Interior spaces, apartment complexes, pavements, thresholds and maintained landscapes become starting points for works that observe how residue, weathering, cleaning, growth and decay accumulate over time.
Sung uses oil paint, salt, alum, copper, wood, acrylic, concrete, soil and plants to produce quiet scenes where matter continues to shift. Through crystallisation, oxidation, staining, casting, layering, plating and accumulation, her paintings and sculptures move between image and material event, scenery and process. What appears still or contained is often unstable, registering the slow actions of climate, contact, maintenance and erosion.
Her thinking is informed by Jane Bennett’s concept of vibrant matter and Filipa César’s reading of Amílcar Cabral’s soil theory, particularly meteorisation as a process through which matter moves through cycles of decay and regeneration. Through these references, Sung approaches surfaces as active sites where material agency, memory and the limits of control are continually renegotiated.
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