Heeyoung Noh

Last chance to view Heeyoung Noh’s solo exhibition at David Dale Gallery, Glasgow closing this Saturday 9th May. Heeyoung Noh Perhaps, the unicorn loved her, 2024 Oil on wood panel 56.5 x 89 cm 22 1/4 x 35 in DM for details and available works. Perhaps, the unicorn loved her Reluctant murder and forgiveness? A tearful attack. Wooden wardrobe panel and domestic fantasy. Perhaps the abuser loved its victim. Curse-dealing, the vicious cycle. She says unicorns used to impale impure women. This painting holds most dear to the dream realm she has created. @weiss.cora Images courtesy of David Dale Gallery. Credit Max Slaven #ArtGallery #ContemporaryArt #LondonArt #thetagli

Bedside Table Alluring cherry wood and white silk sheets triple-frame a blood-stained fragment from an art history book on ukiyo-e prints. Here the men are faithfully pictured, discussing an invasion. And so, she paints in the present tense in Glasgow, evidence of travelled trauma, travelling into the surreal and oneiric. Take note of the sickly intimacy here. Confronted by the past on her bedside table, these things forcibly take root. A vile and vicious history deliciously and excessively framed; the wood has warm red undertones: ‘look at this paper now!’ @weiss.cora Heeyoung Noh Bedside table, 2026 Oil on wood panel 65 x 52 cm 25 5/8 x 20 1/2 in Currently on view as part of Heeyoung’s solo exhibition at David Dale Gallery. DM for details and available works. Images courtesy of David Dale Gallery. Credit Max Slaven #ArtGallery #ContemporaryArt #LondonArt #thetagli

Bloodline Her signature metaphor multiplies into a vicious cycle of bloodless bites. Grandmother, mother, daughter. Violently protective by nature and necessity. Subjects swathed and surrounded by cloth. A theatrical presentation of the transfer through generations of anxieties and traumas. She pays close attention to framing these things. This is about inherited emotional patterns between mothers and daughters. It is hypnotic combination of directness (it is all here, on the surface of things) and yet because of that, it almost has the opposite effect of an optical illusion, cropped so tightly with dizzying painted motion. Silk sheets swirling into a timeless storm. A sense of laboured time and care prevails. @weiss.cora Heeyoung Noh Bloodline, 2026 Oil on canvas 160 x 120 cm 63 x 47 1/4 in Currently on view as part of Heeyoung’s solo exhibition at David Dale Gallery. DM for details and available works. Images courtesy of David Dale Gallery. Credit Max Slaven #ArtGallery #ContemporaryArt #LondonArt #thetagli

Heeyoung Noh at David Dale Gallery, Glasgow “IN HER BEDROOM” March 28 – May 09, 2026 Photos: ©Max Slaven, all images copyright and courtesy of the artist and David Dale Gallery, Glasgow @david_dale_gallery @_no_bro_

Insomniac Growling anxiety and disrupted slumber. Waking into a bad dream, sweating amongst the comforts of her bed. A vulnerable, poisonous tension. These paintings reinforce the value of visual drama to understand invisible curses. This is deeply personal, and so the bedroom. And in her bedroom, she suffers in silence. Violence and sensuality, bowed head and heavy thoughts. @weiss.cora Heeyoung Noh Insomniac, 2026 Oil on canvas 61 x 45.4 cm 24 x 17 7/8 in Currently on view as part of Heeyoung’s solo exhibition at David Dale Gallery. DM for details and available works. Images courtesy of David Dale Gallery. Credit Max Slaven #ArtGallery #ContemporaryArt #LondonArt #thetagli

Heeyoung Noh’s solo exhibition < IN HER BEDROOM > at David Dale Gallery, Glasgow continues until 9th May. “In her bedroom, she wrote about paintings, sheets curled up and around, determined eyes, shifting glasses. With a restless mind, she can relate. Dear curses, I wish you would be kinder. But bitter-sweet strength resides in her bedroom. Guard dogs and white sheets. ‘being a woman feels like a curse’, she says. We giggled.” @weiss.cora Open Friday and Saturday, 12-5pm. Images courtesy of David Dale Gallery. Credit Max Slaven #ArtGallery #ContemporaryArt #LondonArt #thetagli

We’re excited to announce our upcoming exhibition < IN HER BEDROOM >, a solo exhibition by Heeyoung Noh @_no_bro_ ! Join us for the opening on Friday 27th March, 6–9pm — drinks served by Bar Dee Dee ofc! 🥤 The exhibition continues until 9th May, open Friday and Saturday, 12–5pm. Heeyoung Noh (b. 1995, South Korea) is an artist currently based in Glasgow. She graduated from Sungshin Women’s University in 2019 and the MFA at the Glasgow School of Art in 2024. She was selected for the John Moores Painting Prize in 2025. Recent exhibitions include, New Gen: The Emerging Voices, Korean Cultural Centre UK, London (2025); Submerged Attachment, The Tagli, London (2025); LAG, with LAG collective, Cosmo 40, Incheon (2024); RUB RUB RUB, Salt Space, Glasgow (2023); and DAMP, Gallery Philosophie, Seoul (2023). Through painting, Noh explores the complexities and precarity of diasporic identity as an East Asian woman in Scotland, whilst interrogating intergenerational trauma within private and personal spaces. < IN HER BEDROOM > will continue to confront these themes through a series of new paintings, whilst sharing a personal experience of living and finding joy despite the anxieties that underpin it all. For the exhibition, Noh will produce a new risograph print edition.

Heeyoung Noh In the shower, 2026 Oil on canvas 43.5 x 35 cm 17 1/8 x 13 3/4 “Droplets cling to Heeyoung Noh’s (b.1995, South Korea) nude, anonymised, female figures, as they epitomise the complexities and precarities of diasporic identity, reflecting her own lived experience of otherness as an East Asian woman residing in Scotland. Taking place amongst ttaemiri - communal Korean bathhouse culture that arose under Japanese colonial rule in response to accusations of being unclean and uncouth - Noh explores the generational trauma bonds that exist amongst a family’s female lineage. Her water droplets serve as a visual simile for these subconscious scars of systemic, state-sponsored oppression and a pervading, patriarchal social structure, silently passed down from grandmothers to mothers, mothers to daughters during each scrubbing session.” @campbell.hector Heeyoung Noh’s work will be featured in our upcoming group exhibition, On the Conditions of Bodily Presence. 3rd - 8th March 67 Great Titchfield St, W1W 7PT DM us for a preview of works #ArtGallery #ContemporaryArt #LondonArt #thetagli

We’re pleased to share Heeyoung Noh recently featured in ArtAsiaPacific magazine’s New Currents section. “We became, my mother and I, all women conditioned by loss, unnerved by lassitude, bound together in pity and anger.” Read the full feature in ArtAsiaPacific, Nov/Dec 2025. #ArtGallery #ContemporaryArt #asiapacific #thetagli #heeyoungnoh

Heeyoung Noh is a South Korean painter living and working in Glasgow. She completed her MA in Fine Art at The Glasgow School of Art in 2024, having previously graduated with a BA in Western Paintings from Seoul’s Sungshin Women’s University in 2019. Noh was shortlisted for Bloomberg New Contemporaries in 2024 and received the Tagli Mentorship Award the same year, in collaboration with the Folco Collection. She was also selected for the John Moores Painting Prize in 2025. Her nude, anonymised, female figures epitomise the complexities and precarities of diasporic identity, speaking to Noh’s own lived experience of otherness as an East Asian woman residing in Scotland. Situated within scenes depicting ttaemiri - communal Korean bathhouse culture that arose under Japanese colonial rule in response to accusations of being unclean and uncouth - Noh explores the generational trauma bonds that exists amongst a family’s female lineage. Water droplets serve as a visual stand-in for these subconscious scars of systemic, state-sponsored oppression and a pervading, patriarchal social structure, silently passed down from grandmothers to mothers, mothers to daughters during each scrubbing session. Heeyoung Noh Laundry day, 2025 Oil on canvas 60 x 60 cm 23 5/8 x 23 5/8 in #ArtGallery #ContemporaryArt #LondonArt #thetagli #EmergingArtists

🎨 Artist Spotlight: Heeyoung Noh 🔴 A Mother and Her Daughter 🔵 💬 "I explore trans-generational emotions and memories, particularly those passed from mother to daughter, such as inherited anxiety or guilt. Rooted in a feminist perspective, my work examines these complex relationships and inheritances. 💬 "My paintings are anchored in the bathing rituals of my cultural heritage, compulsively adopted in the 20th century as acts of both liberation and resistance. My work began from a deep interest in this historic practice and how it relates to colonial trauma, inscribed on the skin." 💬 "Water or wetness is a recurring presence in my work: fluid, lingering, reforming. It embodies the amniotic, the submerged and the inherited memory that resists evaporation. It also speaks to regeneration and potential. For me, painting is emotional archaeology: an act of inscribing emotion, making visible the histories, memories and embodied experiences of womanhood and family 🖼️ Artwork © the artist, c/o the artist

As the year draws to a close, we reflect on a year of incredible exhibitions - beginning with Heeyoung Noh’s solo exhibition, Submerged Attachment.’ “Presented by THE TAGLI, Submerged Attachment is a visceral meditation on the body as a site of memory, ritual, and resilience. It marks the emergence of a powerful new voice in contemporary painting.” 
— Mark Westall, FAD Magazine #ArtGallery #ContemporaryArt #LondonArt #thetagI