Erin Kang is a painter, a graphic designer and an illustrator based in Boulder, Colorado. Born and raised in Seoul, Korea, Erin moved to the states at age of fifteen. She graduated from Rhode Island School of Design with a bachelor's degree in Fine Art. During her years at RISD, she was selected as a member of European Honors Program to study abroad in Rome, and as an interchange student to continue her fine art studies at Seoul National University in Korea.

After finishing her schools, Erin worked for New Yorker Magazine at Condé Nast as a photograph assistant. Then she moved on to Tapehouse Toons as a member of visual effects team creating The X-Presidents series for Saturday Night Live TV Funhouse, and Disney's Lizzie McGuire series. Even though she had amazing experiences working at fun and fast-paced industries of weekly magazine and broadcast, Erin wanted to focus more on long term narrative design formats. She landed her dream job as a book jacket designer at one of the most respected publishing companies, Penguin Group USA (PGI). She created multiple book covers for award-winning writers at some of the most prestigious imprints in book publishing such as G.P. Putnam Son’s and Riverhead. After many exciting years at PGI, Erin left NYC and settled in Boulder, CO with her growing family. In Boulder, Erin was a high school visual arts teacher at Boulder Valley School District and one of seven artists in the Boulder Creative Collective artist-in-residence program where she worked with collaged images as preliminary sketches for larger body of paintings.

Currently, Erin works as a freelance designer for Penguin Random House, an illustrator creating children’s books for Denver Art Museum, a billboard artist for Denver Theatre District & Public Arts, and actively developing her personal body of fine art works from Master of Fine Arts Practice at University of Colorado Boulder.

Artist Statement:
My interest arise from the subtle connections and boundaries between different phases of my life. I translate these delicate boundaries of subconscious into surreal landscapes using various representations of water. Not only these landscapes result in both serene and catastrophic outcomes, but also what is manipulating and manipulated becomes obscure. By exploring these unpredictable results, I hope to find clarification and acceptance from the past.