Phaan Howng, 洪恭凡 ( Taiwanese American, b. 1982) is a multidisciplinary artist based in Baltimore, Maryland. Her work explores different variations on what she calls an “optimistic post-apocalypse”---nature restyling herself into different sublime landscapes devoid of human beings. These landscapes are created from narratives generated by thoroughly researching various philosophical, scientific and literary investigations of humanity’s futile attempts to cease or even slow down its ecologically destructive habits as flora and fauna spiral toward extinction. Through painting, sculpture, installation, and performance, Howng's work stands as a critique on modern day political and social exploitations of the environment in an attempt to offer a sensory call-to-arms, directing humanity to curb its capitalistic impulses and destructive habits by placing viewers in a world that has moved on without them.
Her latest solo shows and projects include Climate Test at Art Kiosk (Redwood City, CA 2019), You're In Good Hands at theSpring Break Art Fair (New York, NY 2019), The End of Days Spectacular Spectacular at the Baltimore Museum of Art (Baltimore, MD 2018), Effigy, Elegy, Eulogy at Arlington Arts Center (Arlington, VA 2018), Phaan Howng: The Succession of Nature at the Baltimore Museum of Art (Baltimore, MD 2017-2018), Biological Controls: If It Bleeds We Can Kill It at School 33 Art Center (Baltimore, MD, 2016-2017). Phaan’s work has also been included in The Long Conversation at the Smithsonian Arts and Industry Building (Washington DC, 2018), Emergency Contacts for Alt+Esc’s No Vacancy 2 (Brooklyn, NY, 2017); and RE: Art Show (Brooklyn, NY, 2016, 2017). Howng is also a recipient of the 2017 Greater Baltimore Cultural Alliance Rubys Artist Project Grant in Media Arts and Performing Arts, a 2018 Sondheim Prize Semifinalist, and a 2018 Bethesda Trawick Prize Finalist. Her work has been featured in various publications, including Hyperallergic, Art F City, Bmore Art Magazine, Baltimore City Paper, and Baltimore Magazine.