Phaan Howng, 洪恭凡 (United States, b. 1982) is a multidisciplinary artist based in Baltimore, Maryland. Using large-scale landscape paintings, sculptures, and installations, Howng cinematically stages the sublime and formidable beauty of a post-human earth in order to initiate dialogues about the current crises of world ecology and negative effects of the Anthropocene epoch. Her cinematic visions figure an “optimistic post-apocalypse” in works driven by her sympathy for nature and disappointment in humanity’s inability to cease, or even slow down its ecologically destructive habits as flora and fauna likewise slowly spiral their way towards extinction. Howng has shown her work throughout the U.S. and Canada. Her latest solo shows include 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.