Suzanne Song: Recurrent Measures

Suzanne Song Recurrent Measures

Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249

The Williamsburg Biannual gratefully acknowledges Gallery Baton for their support of the exhibition, Recurrent Measures, a solo exhibition of artwork by Suzanne Song

Mission of the Williamsburg Biannual: The Williamsburg Biannual celebrates the diversity and creativity of the artists and designers practicing in New York City through programs and exhibitions designed to make art accessible to people of all backgrounds, genders, races and socioeconomic status. Founded by creative professionals working in the arts and architecture and inspired by the city’s rich history of alternative art spaces, the Williamsburg Biannual promotes arts education and accessibility through interdisciplinary dialogue and experimentation.

Founding Board of Directors: Goil Amornvivat Thomas Morbitzer, Secretary + Treasurer Irene Mei Zhi Shum, Vice President Jorge A. Zapata, President Publication © 2026 Williamsburg Biannual Art © Suzanne Song Installation Photography © Andy Romer Photography Photography © Brad Farwell Photography Text by Irene Mei Zhi Shum Book Design by AMMOR, LLP

Suzanne Song Recurrent Measures

May 14, 2026 – August 22, 2026

Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249

Foreword Recurrent Measures debuts a selection of new pumice paintings, shaped canvas paintings, and two sitespecific installations by Korean American artist Suzanne Song. As Song explains, “The exhibition brings together works that return to one another across my practice. Ideas reappear in different form, and the development is not linear. The exhibition follows these repeated adjustments.”

The pumice series is an iterative exploration of space, materiality, surface, and edge conditions. “I started using pumice when I was working on flat paintings that relied on airbrushed shadows to create depth,” Song notes. “I thought the relief might replace the airbrushed shadow. But instead, I ended up using both the actual shadow from the built-up surface and the painted shadow.” Repeated configurations allow the artist to investigate how slight alterations affect perceptions of depth and movement. A limited palette of monochromatic and muted colors focuses the viewer’s attention on compositions and forms that seem to quietly fold, unfold, shift, and become unstable.

Upon entering the building, visitors first encounter both installations from afar. To the left is Intercession, a window piece in which the artist overlays her pleat-like pattern directly onto the glass surface, engaging both its transparent and reflective qualities; changing light conditions animate the work throughout the day. The window piece foreshadows Recurrence and Near Eclipse, paintings hanging in the Lower Level. To the right, visitors look down upon Blank, a trompe l’œil installation on the lower level. From a distance, it is difficult to determine whether the work is two- or three-dimensional. Its color and composition reference Song’s Interstices painting series.

Once inside, visitors experience the seminal work, Inter-Inter, an early pumice painting initiated in 2011 and completed in 2026 and Bends, a large painting of two bent forms that mirror and turn away from each other.

Created over three years (2020–2023), Bends establishes the dynamic dichotomy that sets the tone for the exhibition. Earlier works that influenced this direction are presented in the upper-level gallery.

Visually reminiscent of Op Art and Minimalism, though grounded in trompe-l’œil technique, Song’s work examines the phenomenon of perception: Do you trust what you see? Is seeing really knowing? What is the nature and limit of human knowledge? What differentiates belief and faith from fact and knowledge?

The questions underpinning Song’s art evoke a rich history of philosophical thought, most notably George Berkeley’s famous tenet esse est percipi (“to be is to be perceived”), which posits that the external world is contingent upon the perceiver and that objects do not exist independently of the mind perceiving them, as well as art critic John Berger’s assertion in his seminal text Ways of Seeing that “seeing comes before words.”

Artist Statement I explore duality through the relationship between space and perception. My paintings emerge through a process that balances intention and discovery. I am interested in how an image can appear stable at first, then begin to shift as the viewer spends time with it. Through these perceptual changes, space becomes something fluid rather than fixed.

My background in printmaking continues to inform the way I paint. Printmaking taught me to build images slowly through layers, repetition, and process, allowing individual elements to dissolve into a larger whole.

That approach carries into my paintings, where thin washes of color, shadows, and edges accumulate over time, creating surfaces that reveal themselves gradually.

Forms repeat across the surface in mirrored, reversed, and inverted configurations, often shifting in scale and color. Over time, I have returned to a small group of motifs, exploring how they change through repetition and variation. As these layers interact, perception moves between recognition and reinterpretation. What first appears certain may become unstable, making room for different ways of seeing.

Trompe-l’œil plays an important role in my work. I use illusion not to create a convincing fiction, but to question how we understand what we see. Traditionally used in architecture to extend walls and ceilings beyond their physical limits, trompe-l’œil creates a space between the real and the imagined. I am interested in that threshold, where a painted surface can remain present as an object while suggesting something beyond itself.

My experience with site-specific wall drawings and large-scale installations has expanded this investigation.

As paintings engage directly with their surroundings, my relationship to them becomes both perceptual and physical. Scale introduces a degree of unpredictability. What begins as a carefully structured process often leads somewhere unexpected. Illusions that extend beyond the edge of the work alter my sense of distance and orientation, bringing a different immediacy to the act of painting.

While my earlier works were largely monochromatic, recent paintings place greater emphasis on color and its ability to shape perception. Thin washes of pigment are built up gradually, allowing color to develop slowly over time. Grounded in complementary relationships, colors shift in response to one another and to the viewer’s position in space. As the body moves, colors appear to change, advance, recede, or reverse. I am interested in creating moments of uncertainty where perception remains open and changeable.

Inter-Inter, 2011–2026 Acrylic and pumice on canvas 88 × 82 inches

Facing, 2026 Acrylic and pumice on canvas 41 × 39 inches

Bends, 2023 Acrylic and pumice on canvas 66 × 113 inches

Peak, 2017 Acrylic and pumice on canvas 60 × 54 inches

Strata Peaks, 2026 Acrylic and pumice on canvas 56 × 50 inches

Strata, 2021 Acrylic and pumice on canvas 22 × 18 inches

Site Specific Window Installation Intercession, 2026 Vinyl 94 × 93 inches

Re:Re:Entry, 2026 Acrylic on linen 70 × 56 inches

Interstice I, 2026 Acrylic on linen 63 × 52.5 inches

Interstice II, 2026 Acrylic on linen 63 × 52.5 inches

Blind Fold, 2026 Acrylic pigment on linen 73 × 59 inches

Site Specific Installation: Blank, 2026 Acrylic on wall and floor in corner Dimensions variable

Recurrence, 2026 Acrylic pigment on linen 70 × 56 inches

Near Eclipse, 2026 Acrylic pigment on linen 50 × 41 inches

Shifting Measure, 2026 Acrylic pigment on linen 24 × 18 inches

Open Corners, 2023 Acrylic pigment on canvas 72 × 110 inches

Equals, 2020 Acrylic pigment on linen, shaped canvas 49 × 39 inches

Open Form, 2021 Acrylic pigment on linen, shaped canvas 53 × 37 inches

Per se, 2021 Acrylic pigment on linen, shaped canvas 36 × 25 inches

Pleating, 2026 Acrylic on canvas 54 × 44 inches

Shadow Box Table, 2026 Display of various drawings, studies, and collages 6‘ × 3’-3″

Current, 2026 Silkscreen and colored pencil on Twinrocker paper 22 × 18 inches Edition of 25 + 1AP Published by Marginal Editions, New York

Incave / Excave, 2019 Acrylic and pumice on canvas 24 × 21 inches

Biography Born in Grand Rapids, Michigan, artist Suzanne Song lives and works in New York City. She studied at Clemson University (BFA), the Maryland Institute College of Art, and the Yale School of Art (MFA). She has presented solo exhibitions internationally at Gallery Baton (Seoul, South Korea) and White Cube (London, United Kingdom), and her work has been included in group exhibitions at The Drawing Center, Smack Mellon, and the Hunter College Art Galleries, among others. She has been awarded fellowships from the Elizabeth Foundation for the Arts and the New York Foundation for the Arts. Her work is held in notable public and private collections, including the RISD Museum, the Montecito Contemporary Art Collection (MCAC), the Parkseobo Foundation (Seoul), and the KD Collection (Hong Kong).

Exhibition Checklist MAIN LEVEL Gathering Area Inter-Inter, 2011–2026 Acrylic and pumice on canvas 88 × 82 inches Facing, 2026 Acrylic and pumice on canvas 41 × 39 inches Site Specific Window Installation Intercession, 2026 Vinyl 94 × 93 inches

Gallery Bends, 2023 Acrylic and pumice on canvas 66 × 113 inches Peak, 2017 Acrylic and pumice on canvas 60 × 54 inches Strata, 2021 Acrylic and pumice on canvas 22 × 18 inches Strata Peaks, 2026 Acrylic and pumice on canvas 56 × 50 inches

LOWER LEVEL:

UPPER LEVEL

Re:Re:Entry, 2026 Acrylic on linen 70 × 56 inches

Gallery 1

Interstice I, 2026 Acrylic on linen 63 × 52.5 inches Interstice II, 2026 Acrylic on linen 63 × 52.5 inches Shifting Measure, 2026 Acrylic pigment on linen 24 × 18 inches Blind Fold, 2026 Acrylic pigment on linen 73 × 59 inches Near Eclipse, 2026 Acrylic pigment on linen 50 × 41 inches Recurrence, 2026 Acrylic pigment on linen 70 × 56 inches Site Specific Installation: Blank, 2026 Acrylic on wall and floor in corner Dimensions variable

Open Corners, 2023 Acrylic pigment on canvas 72 × 110 inches Equals, 2020 Acrylic pigment on linen, shaped canvas 49 × 39 inches Open Form, 2021 Acrylic pigment on linen, shaped canvas 53 × 37 inches Per se, 2021 Acrylic pigment on linen, shaped canvas 36 × 25 inches Gallery 2 Pleating, 2026 Acrylic on canvas 54 × 44 inches Current, 2026 Silkscreen and colored pencil on Twinrocker paper 22 × 18 inches Edition of 25 + 1AP Published by Marginal Editions, New York Shadow Box Table, 2026 Display of various drawings, studies, and collages 6‘ × 3’-3″ Office / Reading Area Incave / Excave, 2019 Acrylic and pumice on canvas 24 × 21 inches

Curriculum Vitae Born in Grand Rapids, Michigan in 1974 Lives and works in New York

EDUCATION 2000

Master of Fine Arts, Yale School of Art, Yale University, New Haven, Connecticut

1997

Bachelor of Fine Arts, Clemson University, Clemson, South Carolina

SOLO EXHIBITIONS 2026

Recurrent Measures, Williamsburg Biannual, Brooklyn, New York

2025

Interfold, White Cube, London, United Kingdom

2024

Near Distance, Gallery Baton, Seoul, South Korea

2018

Open Surface, Gallery Baton, Seoul, South Korea

2015

Intervals, Gallery Baton, Seoul, South Korea

2011

Interplay, Doosan Gallery, New York

2007

Replica, Michael Steinberg Fine Art, New York

2003

Plastic Dimensions, Caren Golden Fine Art, New York

GROUP EXHIBITIONS 2026

Against Ornament, Against the Object, Gallery Baton, Seoul, South Korea

2025

Estuary II: Between Calm Tides, Chapter II, Seoul, South Korea

2024

45cm, Chapter II, Seoul, South Korea

2023

Lagrange Point: Suzanne Song and Kim Sang Gyun, Gallery Baton, Seoul, South Korea

2023

Faint Afterglow, Gallery Baton, Seoul, South Korea

2022

Between Texts and Textiles, Bienvenu Steinberg & J, New York

2020

EFAbstract, EFA Project Space, New York

2019

Rock, Paper, Scissors, C24 Gallery, New York

2018

Active Beige, Foley Gallery, New York

2017

Armory Arts Week: EFA Open House, The Elizabeth Foundation for the Arts, New York

2016

Twenty Sixteen, Smack Mellon Gallery, New York

2015

January, Mixed Greens Gallery, New York The Search for The Real, DeBuck Gallery, New York

2013

Buzz, Nara Roesler Gallery, Sao Paolo, Brazil

2012

Post- Op, Mixed Greens Gallery, New York

2011

Amanda Gordon Dunn & Suzanne Song, Sabina Lee Gallery, Los Angeles, California Fourth Estate: New Editions, The Wild Project, New York

2010

Fourth Estate: New Editions, The Re Institute, Millerton, New York New New York Publishers, Frans Masereel Center, Kasterlee, Belgium Fourth Estate: Recent Editions, Sharon Arts Exhibition Gallery, New Hampshire Gimme Shelter, Mixed Greens, New York Where to from Here, Paik Hae Young Gallery, Seoul, South Korea Smoke & Mirrors / Shadows & Fog, Hunter College Gallery, New York Fourth Estate Editions: Recent Works, Frederieke Taylor Gallery, New York

2009

Ordinary Days, PKM Gallery, Seoul, South Korea Two Degrees of Separation, Satori Gallery, New York Fourth Estate Editions, Memorial Hall Gallery, Rhode Island School of Design System: System, St. Cecilia’s RC Church & Convent, Brooklyn, New York Paik Hae Young Gallery, Seoul, South Korea Reflecting Transformation No Longer Empty, The Caledonia, New York Fortress to Solitude, 53 Bogart, Brooklyn, New York Ins & Outs, Satori Gallery, New York After Image, Petit Morte Studio, New York

2008

Back to the Drawing Board, Michael Steinberg Fine Art, New York Stones Throw, LA Printmaking Society, Los Angeles, California The World’s Smallest Art Fair, Anna Kustera Gallery, New York

2007

Emerging Artists Exhibition, Smack Mellon Gallery, Brooklyn, New York New York—Paris, Space World Center Gallery, New York

2006

Site92, Smack Mellon Gallery, Brooklyn, New York

2002

Abstract Tendencies, Fall Selections, The Drawing Center, New York Reconfigure, Richard Levy Gallery, Albuquerque, New Mexico

2000

MFA Exhibition, Yale School of Art, Yale University, New Haven, Connecticut

RESIDENCIES / FELLOWSHIPS 2016

The Elizabeth Foundation of the Arts, Fellowship, New York

2009

Fourth Estate Residency, New York The Elizabeth Foundation of the Arts, Fellowship, New York

2005

Studio Program, Smack Mellon, Brooklyn, New York

HONORS / AWARDS 2008

New York Foundation for the Arts Fellow in Painting, New York

2000

Honor Award, George R. Bunker Award, Yale School of Art, New Haven, Connecticut

1998

Second Place, Emerging Artists, Maryland Federation of the Arts, Annapolis

1997

Fine Arts Undergraduate Citation Award, Clemson University, Clemson, South Carolina

PUBLIC AND PRIVATE COLLECTIONS RISD Museum, Rhode Island School of Design, Providence, Rhode Island Montecito Contemporary Art Collection (MCAC), California Parkseobo Foundation, South Korea KD Collection, Hong Kong

Acknowledgements The Board of Directors of the Williamsburg Biannual would like to acknowledge our friends and supporters, who helped make Recurrent Measures possible, especially artist Suzanne Song and the team at Gallery Baton; Andy Romer Photography for installation photography and Brad Farwell for object photography; New York Council of Nonprofits and Gwynn V. Jones of Council Services Plus for their expertise on policy and nonprofit administration. In addition, we are grateful to Marginal Editions for the production and donation of portion of sales of Current print edition to benefit our programming.

As we continue our second year, the Williamsburg Biannual is excited to serve New York, its creative community, and the public-at-large meaningfully advancing the arts, public discourse and the cultural life of our city. We look forward to welcoming more visitors, making new friends, presenting thoughtful programming, and strengthening our community! Thank you for your interest. We appreciate your interest and support!

About The Williamsburg Biannual Opened in 2024, the Williamsburg Biannual is a new artist space in Brooklyn that mounts two exhibitions per year, allowing exhibiting artists to show a comprehensive body of work for an extended period. Exhibitions are complemented by related programs – music and dance performances, screenings, readings and talks.

Located at 333 Kent Avenue, steps from the Williamsburg Bridge and Domino Park, the Williamsburg Biannual’s home is an adaptive reuse and expansion of a 1920’s 10,000sf warehouse, designed by JAZ Architect. The Biannual’s premises include over 7,500sf of public gathering space, a black box event space, an informal auditorium and casual seating area, double height galleries and a private outdoor space. Of this, 4,000sf is dedicated exhibition space, spread over three levels. Natural light permeates throughout the building, creating a serene environment, an urban oasis for art viewing, contemplation, discussion, and enjoyment.

For more information about The Williamsburg Biannual, visit www.williamsburgbiannual.org.

Published on the occasion of the exhibition

Suzanne Song Recurrent Measures May 14, 2026 – August 22, 2026 Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249 www.williamsburgbiannual.org www.gallerybaton.com