Gigantic Necklace reimagines adornment on an architectural scale. Rooted in her background in metal craft and jewelry, Allyson Jeong transforms oversized chain links and sculptural pendants into a contemplative spatial installation.

Through techniques of bending, polishing, and texturing, the metals' surfaces capture light and shadow like a living skin. By displacing jewelry from the body to the room, this piece questions: When scale and function dissolve, can ornament become sculpture?

This work resists utility and invites reflection on material, form, and the silent weight of beauty.

Gigantic Necklace

This sculptural composition investigates the subtle interplay between presence and absence, weight and lightness.

Each frame is meticulously carved and hammered, amplifying

the surface texture until it catches and mirrors light like silent echoes reflecting one another. The geometric arrangement does not simply define space but invites the gaze into the thresholds between forms, where reflections overlap and emptiness holds tension. What remains unseen becomes part of the structure.

In between Frames

FAT BUT CUTE ¡

Good Things Happen evokes an emotional topography where memory, sensation and landscape intermingle.

Flowing brushstrokes and trembling contours blur the boundary between nature and the psyche. Trees emerge not as representations but as rhythmic impressions, traces of lived emotion. Rooted in tactile awareness and asymmetry, Allyson Jeong's work invites the viewer to pause, to feel and to inhabit a moment just before thought solidifies into meaning.

Good Things Happen

The red knows what was, what’s lost and what still breathes.

The Red Tree knows 

Every year, about 50 billion chickens are consumed worldwide. Humanity, perched confidently at the top of the food chain, now leaves almost nothing untouched. But today, this project turns the gaze back onto the viewers and asks Who is cooking humanity?

  
This sculptural installation invites the audience into a surreal and unsettling scene, a pot filled with golden human hands, chili peppers, pink liquid, and fragments of domestic and industrial materials. The familiar imagery of cooking and consumption is flipped, raising critical questions. Are the animals we have slaughtered for centuries now returning for revenge, cooking humans in their place? Or perhaps more disturbingly, have humans so thoroughly destroyed the ecosystem that those in power now devour one another?

  
Through the blending of organic and artificial forms, this work probes the ethics of consumption, domination, and ecological imbalance. It addresses the theme of “Mutual Benefits” by exposing the breakdown of mutualism, showing that when exploitation becomes the dominant mode of interaction, no one ultimately wins.

  
By confronting the viewer with these surreal and tactile juxtapositions, Guess Who’s Cooking ¿ seeks to awaken an urgent reflection on whether we can restore the balance of life or whether we are simply watching ourselves being slowly consumed by the systems we have created.

Guess Who’s Cooking ¿

This work explores the organic movement and underlying tension of nature through the image of two trees swaying in the wind. Moving beyond simple landscape representation, it visualizes a state of balance within motion, capturing subtle vibrations at the threshold of sensation and perception. The painting withholds immediate interpretation, aiming instead for slow, dense sensory engagement.

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