Chung Eun-Mo was born in Seoul in 1946. Having received her earlier education in Korea, she went to USA in mid 1960s and studied at the School of Art and Design in Rochester Institute of Technology and the Graduate School of Art and Architecture in Pratt Institute in New York. She moved in Italy in 1987 and has lived ever since.

Chung Eun-Mo has have many exhibitions world-widely, and some of her museum exhibitions that made her works well-known in Europe include Stadtische Galerie im Lenbachhaus in 1992 and Irish Museum of Modern Art in 1994. In 2001, she received a grant from The Pollock-Krasner Foundation in New York.

Chung Eun-Mo's art is simply abstract oil painting; however, the pictures are far more than mere expanses of paint. She is principally interested in the planar distribution of color. In her works, the structure of paint surface does not proceed from the interior forms within the rectangular field of the canvas; instead, she regards the external structure of the canvas itself, the physical substratum of the picture, as the primary place of formal decisions. Thus, the artist directly emphasizes the contours of the picture, seen as a physical object in its own right, and employs them as elements in the composition of the work. At the same time, the seemingly abstract flatness of the canvas is alleviated, and the picture takes on a far stronger sense of physical immediacy than is usually the case with rectangular formats, which for reasons of artistic convention, tend to be seen as pure surface.

Although the painting of non-figurative geometric forms invariably inclines towards flatness, Chung Eun-Mo achieves an effect of spatial, plastic structuring, chiefly by juxtaposing different colors and shades of light and dark. Her pictures are visually ambivalent they can be seen as systems of planes and at the same time as three-dimensional objects which appear to extend out from the wall, although the viewer is unable grasp the precise direction of their physical movement.

Her manner of dealing with the edges, according them the same importance as the main body of the picture, turns them into monochrome surfaces whose painterly quality and sensual effect are indistinguishable from the effect of the paint surfaces on the plane of the wall. Thus, in addition to their primary two-dimensional structure of organization, the pictures have a second level of planar connection, but one which spills over into actual space. The simultaneous presence of flatness and volume establishes a set of marked visual tensions: instead of perceiving the pictures are two-dimensional areas of color, the viewer sees an object on the wall which conveys a suggestion of plastic, spatial form.