Freddie Hong is a media artist and researcher who lives and works in London. Being interested in how present-day digital technology moulds our relationship with the physical world and society, Freddie explores the fuzzy boundary of authorship and control in Human-Computer-Interaction (HCI) through interactive artworks and performances that involve various sensory modalities. Recently, he has been working closely with musicians and dancers in London, combining body, sound and creative technologies to find new stimuli in bodily expressions. Freddie has been hosting HCI workshops for artists and designers where participants have opportunities to play with the intelligent ‘things’ and understand their technical boundaries—followed by a conversation on what it means to involve digital agents in our creative practices and how we should perceive such relationship.
Freddie earned his bachelor’s degree in Architecture at the Bartlett School of Architecture UCL and his master’s degree in Computational Art at the Goldsmiths University of London. Freddie was awarded the Bartlett Making Building Prize for having the most innovative building project of the year in his graduating year (2016). His work on Artificial Intelligent driven project, “Door that opens when you smile” at Goldsmiths University, has also been featured by the Fast Company (2017). His research works have also been presented and published at reputable international conferences such as ACM’s Computer-Human Interaction.
Previously, Freddie worked as an architectural designer at Asif Khan Studio, specialising in designing and engineering performative interactions within architecture. Projects include Hyundai Pavilion at the 2018 PyeongChang Olympic and Public Realm at the 2020 Dubai Expo.
Entangled, Interactive Dance Performance, Trinity Laban conservatoire of music and dance, London, UK (July 2022)
‘InterPlaces’, Argument Realty (AR) group exhibition, Terre Haute, Indiana, US (May 2022)
Sonic Scenery, THE HOUSE OF MACAN, Porsche Korea, Seoul, South Korea (March 2022)
Sonic Scenery, Audio-visual projection, Porsche Korea, Gwang-Ju Design Biennale, South Korea (December 2021)
Diffusion, Audio-visual installation, Sinchon Theatre, Seoul, South Korea (Jan 2021)
Bonner Road, Sound installation, Sinchon Theatre, Seoul, South Korea (July 2020)
Fringe Arts Bath, Bath Open Art Prize, 44AD Artspace, Bath, UK (June 2019)
Generative Chronicles, Expressive 2019, Casa Paganini, University of Genoa, Genoa (May 2019)
(Anti) Voice loop, St. James Hatcham, Goldsmiths, University of London, UK (March 2019)
‘Butterfly Effect, voices of Korean artists, OXO bargehouse, London, UK (May 2018)
Expo 2020 Dubai’s public realm, Dubai, UAE, (October 2021)
Hyundai Pavilion, as computational artist to Asif Khan Studio, PyeongChang 2018 Winter Olympics, South Korea (Feb 2018)
‘Overlap’, St. James Hatcham, Goldsmiths, University of London, UK (July 2017)
As the world turns, as technical support to David Rickard, Kranenburgh Museum, Netherlands (2017)
Freddie Hong, Luca Tendera, Connor Myant and David Boyle. Vacuum-Formed 3D Printed Electronics: Fabrication of Thin, Rigid and Free-Form Interactive Surfaces.
Freddie Hong, Steve Hodges, Connor Myant, and David E Boyle. 2022. Open5x: Accessible 5-axis 3D printing and conformal slicing. In Extended Abstracts of the CHI 2022 https://dl.acm.org/doi/10.1145/3491101.3519782
Freddie Hong, Connor Myant, and David E Boyle. 2021. Thermoformed Circuit Boards: Fabrication of highly conductive freeform 3D printed circuit boards with heat bending. In Proceedings of the CHI 2021 https://doi.org/10.1145/3411764.3445469
Freddie Hong. ‘Surface’, ACM Interactions – Demo hour, volume 27, 2, 2020 (March 2020)
Freddie Hong. ‘SURFACE: Xbox Controlled Hot-wire Foam Cutter‘. In: ACM/EG Expressive Symposium – Posters, Demos, and Artworks. Genoa, Italy (May 2019)
V&A Blog, ‘Pandemic Objects: The Door Handles’, (May 2020)
Fast Company, ‘3D print your own hands-free door handles’, (July 2020)
Dezeen, ‘handsfreearchitecture’, (April 2020)
Murze Arts Magazine, ‘Boolean’, Issue 5 (April 2019)
Fast Company, ‘To Interact With This Interface, Just Smile’ (March 2017)