Every Second in Between

A Public Art Commission by artist Kyung Hwa Shon

Every Second in Between

A Public Art Commission by artist Kyung Hwa Shon
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Every Second In Between
A Public Art Commission by artist Kyung Hwa Shon

Every Second In Between is the first large scale public art commission for White City Place, an area home to people from a variety of backgrounds and cultures. Currently undergoing rapid redevelopment, it is fast becoming a new hub where workers commute every day.

Artist Kyung Hwa Shon has produced a site-specific art installation distributed across the new public spaces in White City Place. She has created colourful abstract designs, installed as huge vinyl stickers across the façade of a five-storey building and the outdoor seating. The artwork continues with a large scale digital animation of the design inside The WestWork’s lobby. The artist has used processes of drawing, collage and digital manipulation to create a design that combines fragments of local buildings, urban landscape and street signage. The architecture of Television Centre and the Loftus Road Football Stadium can be seen alongside road markings and brickwork from the Westway and nearby housing estates, making it simultaneously unexpected and familiar to passers-by.

Kyung Hwa Shon has a nomadic practice, routed in what it means to navigate urban space. Her work captures the human experience of walking through cityscapes, the changing flows of people, traffic and information within the shifting landscape of massive regeneration and what lies in between personal and collective experience when moving through the city.

Every Second In Between is curated by Anna Dufour Montuori, Sara Thorsen Fredborg, Kate Gu, Niamh O’Driscoll, Afra Rebuscini, Wejdan Reda and Poppy Wu as part of the Curating Contemporary Art Programme MA Graduate Projects 2018, Royal College of Art & in partnership with Stanhope.


As a group of seven international female curators coming from different academic and professional backgrounds, we approached the project with a vast range of professional practice from art institutions, commercial galleries and art fairs, to finance, business and architecture. Yet, this was our first experience in a public art commission.

We started our project in White City by researching the areas’ history, its constituents and the nature of public and semi-public spaces. We were outsiders and temporal presences in a place without defined geographic boundaries on the map, a visible attribute and an identity or, maybe, with a lost one. This was precisely the moment in which we understood that it was not about defining or pinning down the essence of White City, but rather exploring what made it unique and different.

When looking at White City’s history, we noticed points of low and high activation over time. The high points being the 1908 Olympics and the Franco-British exhibition. After these events the land turned derelict, but was reactivated when BBC moved in in the 60s. Today, White City is still going through another redevelopment, and the landscape is continuously changing. Read More

Click HERE to download the initial artist brief


Kyung Hwa Shon explores the reciprocal relation between a city and the imagination through the eyes of a phantom, ‘Stillman’. For her, this imaginary character, ‘Stillman’ is the eruption of a sudden and strange image appearing on the blink of its own vanishing and as such stands in the very moment of the annihilation of the concrete individual. Tracing the movements of ‘Stillman’ makes the city become an enormous, surreal, even theatrical-like space in which a sense of otherness starts to emerge. She focuses on the instant moment of the unanticipated experiences that are encountered in the everyday, as they are significant factors to unfold into extensions of imagination; oscillating in turn between fiction and reality.

The myriad ambiguous signs and letters in the street and fragmented specular images on shop-window displays are, for her, crucial elements in creating peculiar relationships with the world of things, implying the emergence of the imagination. Through these elements, the infinite boundary of the imagination unleashes the city as unaccustomed, disoriented, and reencountered. Her art practice focuses on the rediscovery of psychological heteromorphic identification, the presence of invisible substance, and fantastic visual experiences emanating from serendipitous moments of glitch in the city. The work implies the opening of the urban landscape to a distinct poetics of the city in which mythology, sign, symbol, voice, text, and trace occurs.

Kyung Hwa Shon was born in South Korea and is a PhD researcher in painting at the Royal College of Art in London. In her practice, the artist explores urban life experience using a wide range of mediums including installation, painting, drawing, sound, video and text. She has recently participated in the SWAP:UK/Ukraine artist residency programme organised by the British Council in Ukraine and the Liverpool Biennial.


Public Program

  • 14
    Kyung Hwa Shon in conversation with Dr. Filipa Matos Wunderlich
    White City Place & The WestWorks Studio, 195 Wo od Lane, London W12 7FQ
  • 15
    Lunch Hour Well-Being Walk guided by Ania Bas
    White City Place & The WestWorks Studio, 195 Wo od Lane, London W12 7FQ



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