Eric Cho is an artist and writer who specializes in narrative storytelling. Whether working in film, comics, zines, video installation, stop-motion animation, or object-based practices, Cho's work often features moments of encounter — between strangers, across generations, and within war zones — that point to the possibility of connection, and thus transformation, within a culture of systemic violence and mediatized surveillance. More recently, Cho's practice has included drawing and writing short stories about illness, healing, and sensory disability; trans life and trans loss; and the neuroscience of memory and emotion. Cho's stop-motion animation Our Cosmos Our Chaos toured North America and Asia/Pacific from 2005-2011 as part of Still Present Pasts, a multi-disciplinary exhibition on the legacy of the Korean War. Queer-trans video include works such as the Are You Me? video poem series and We Got Moves, an experimental video that screened in early transgender film festivals such as TrannyFest (1999) and Counting Past Two: Performance, Video and Spoken Word with Transgender Nerve (1999). The Heart's Mouth — a commissioned video installation at the San Jose Museum of Art — premiered in the 2013 exhibition This/That: New Stories From the Edge of Asia, while Cho's short film Golden Golden was featured in Trans History in Objects:Trans Video Store, a special MOTHA (Museum of Trans Hirstory and Art) exhibition at the Portland Art Museum in 2018 and at the San Diego Art Institute. Cho has curated programs for MIX NYC: New York Queer Experimental Film Festival, Los Angeles Asian Pacific Film Festival, the Korean American Museum, and was program manager for the Outfest Legacy Project for LGBT Film Preservation in collaboration with UCLA Film and Television Archives. Cho also has television industry experience in post-production for programs broadcast on NBC, ABC, Lifetime, The Learning Channel, PBS, and MTV. Cho has received grant awards from Creative Capital, Hellman Foundation, Traction Foundation, Leeway Foundation, California Community Foundation, Robert Motherwell Foundation, and has been honored as one of OUT Magazine's OUT100.

As an experimental narrative filmmaker, I like to play with popular conventions in order to assert—in a non-didactic fashion—the vibrancy of underrepresented and queer communities. My aesthetic influences reflect a Korean American immigrant experience, a formal training in visual art, and formative roots in queer punk and feminist music subcultures. As a college student, deep in rural Pennsylvania, I made queer woodcuts and comics. In late '90s New York, I worked with performance artist Jess Dobkin. I then got an MFA from UC Irvine, where I studied experimental video. All in all, I’ve made 12 short experimental films, most recently, Golden Golden (2016), a Great Recession film featuring two broke San Bernardino 20-somethings who visit a Filipina healer. I live in Philly/Los Angeles and teach in UC San Diego's Visual Arts Department.

Eric Cho is a filmmaker and visual artist based in Los Angeles. Our Cosmos, Our Chaos is their third video work. Their previous works, We Got Moves You Haven’t Even Heard Of, and Kimberly Bahp Makes Sushi For Two, were screened at numerous festivals in the US and Canada. They have exhibited at several galleries in California and Pennsylvania.

Eric Cho is a bi-coastal (Philadelphia and Los Angeles) visual artist, animator, and filmmaker. They are Assistant Professor of Narrative Media in the Department of Visual Arts at the University of California, San Diego, and were previously a visiting assistant professor at Swarthmore College in the Film and Media Studies department. Cho has acted as a film curator for the Los Angeles Asian Pacific Film Festival since 2011, and organized and founded the first Tri-Co Film Festival in 2012. They have received the Creative Capital Moving Image Award, among other awards. Cho's work often explores various intersections between LGBTQ and Asian-American themes as described in their 2011 interview with the website Asian Gay and Proud: In my work, conceptually I’ve been interested in exploring the stereotypes of inscrutability or invisibility and being open to looking at what the potential in that stereotype might be. Asians are perceived to be inscrutable or invisible or voiceless or one of the masses, and I’ll flip it and decide to explore that stereotype and begin to see people who are extroverted and space-taking as actually lacking the ability or potential to be invisible. I know it sounds like I like the stealth ninja, but I won’t immediately accept certain qualities as a weakness."