Nathan Twedt

Eun-Kyung Suh, South Korean, born 1962

Share

2015

Silk organza, cotton thread, pins, and pixelated boxes

Overall: 70 × 70 in. (177.8 × 177.8 cm)

Hood Museum of Art, Dartmouth: Purchased through the Virginia and Preston T. Kelsey 1958 Fund

© Eun-Kyung Suh

2025.3

Portfolio / Series Title

Hidden Faces

Geography

Place Imaged: United States, North America

Place Made: United States, North America

Period

21st century

Research Area

Mixed Media

Not on view

Label

Inspired by traditional Korean bojagi (wrapping cloths), Hidden Faces explores the lives of Korean adoptees in the United States. These sculptural vessels—which bear the photographic imprint of Twedt’s face—symbolize displaced identities and fragmented histories. The translucent containers evoke the adoptees’ experiences of navigating cultural disconnection and racial paradoxes, in which they are viewed by adoptive families as “Caucasian” yet perceived by society as “Asian.” The accompanying transcript of an interview with Twedt amplifies this narrative through its poignant memories of loss, belonging, and self-discovery. Eun-Kyung’s work invites viewers to meditate on the layered complexities of transracial adoption.

From the 2025 exhibition Visual Kinship, curated by Alisa Swindell, Associate Curator of Photography, Dr. Kimberly Juanita Brown, Dr. Thy Phu and Dr. Iyko Day

Course History

College Course 26.01, What’s in Your Toolbox?, Casey Aldrich and Mokhtar Bouba, Fall 2025

Women’s, Gender, Sexuality Studies 65.07, Queer Popular Culture, Eng-Beng Lim, Fall 2025

Exhibition History

Visual Kinship, Lathrop, Jaffe and Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 30 - November 29, 2025.

Provenance

The artist, 2015; sold to present collection, 2025.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu