Yeonju Son

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<channel>
	<title>Yeonju Son</title>
	<link>https://yeonjusohn.com</link>
	<description>Yeonju Son</description>
	<pubDate>Tue, 08 Feb 2022 15:44:38 +0000</pubDate>
	<generator>https://yeonjusohn.com</generator>
	<language>en</language>
	
		
	<item>
		<title>2021 Augenblick</title>
				
		<link>https://yeonjusohn.com/2021-Augenblick-1</link>

		<pubDate>Tue, 08 Feb 2022 15:44:31 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/2021-Augenblick-1</guid>

		<description>2021. group exhibition show:&#38;nbsp; Augenblick, Leesang art space, Seoul
Text &#124;

There are moments feeling vaguely ‘shaken’.&#38;nbsp;
I usually think this feeling seems like me.
This sense made me an uncertain question.
whether I am shaken, whether circumstances and moments are shaken, whether circumstances shakes me or what goes through me because I am shaken. Whether the situation is shaking or not, it creates a situation that makes you stay in that moment.&#38;nbsp;
Through a series of ‘shaky landscape series’ from 2019 to 2020, I try to unravel and re-sense the moments I felt and sensed. the works are the artist’s unfolding moments, an we propose to read these moments with our own eyes and tell the various vibrations with out own open senses.&#38;nbsp;


모호하게 ‘흔들림’을 감각하게 되는
순간이 있다.


 이 감각은 나로 하여금
내가 흔들리는 것인지, 상황과 순간이 흔들리는 것인지, 상황으로 하여금 내가 흔들리는지, 내가 흔들리기 때문에 나를 거치는
상황들이 흔들리는 것인지, 그 순간에 머물게 하는 상황을 만든다.
2019년부터 2020년 동안 진행된 일련의 ‘흔들리는 풍경 작업 연작’을 통해 본인이 느끼고 감각한 순간들을 풀어내고 재감각하는 과정을 시도한다. 작업들은 작가의 펼쳐진 순간들이며, 이 순간들을 눈으로 읽어가고, 다양한 흔들림에 대한 순간을 각자의 열린 감각으로 느끼기를 제안한다.

installation view &#124;

&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/491a00f3df88ecabf39455beed30ffa7b4163b31c895b37b9d975922303f9505/IMG_3162.jpg" data-mid="132845039" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/491a00f3df88ecabf39455beed30ffa7b4163b31c895b37b9d975922303f9505/IMG_3162.jpg" /&#62;
&#38;nbsp; &#38;nbsp;&#38;lt;흔들린다 흔들리다 흔들리다 흔들린다 (shaking shaked shaked skaing) &#38;gt;, 2020, Buncahe colour on Jangji


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installation view


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installation view

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&#38;lt;춤을 춘다 춤을 추다 춤을 추다 춤을춘다&#38;gt;,2020, Buncahe colour on Jangji


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installation view&#38;nbsp;


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		<title>졸업전시 </title>
				
		<link>https://yeonjusohn.com/24000021</link>

		<pubDate>Tue, 08 Feb 2022 15:44:38 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/24000021</guid>

		<description>2020. group exhibition :Ewha Womans University Graduation Exhibition Show, Seoul


&#60;img width="481" height="722" width_o="481" height_o="722" data-src="https://freight.cargo.site/t/original/i/af167ca76aa32973542a23d4427ff3f9356e3317415963fbfc58af674113306e/-----2020--.png" data-mid="133994822" border="0"  src="https://freight.cargo.site/w/481/i/af167ca76aa32973542a23d4427ff3f9356e3317415963fbfc58af674113306e/-----2020--.png" /&#62;

&#38;lt;모호함은 모호함대로 머무르고 머무르며 머무른다(Staying Vague)&#38;gt;, 2020, mixed media, installation

installation view &#124;

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&#60;img width="2835" height="2126" width_o="2835" height_o="2126" data-src="https://freight.cargo.site/t/original/i/6494c97564fb442721f537c4e98909523965b42ac73510f90bdcf8858c9b2f52/IMG_1452.jpg" data-mid="141593300" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/6494c97564fb442721f537c4e98909523965b42ac73510f90bdcf8858c9b2f52/IMG_1452.jpg" /&#62;
installation view with over 300 pieces of ‘timed sculpture’.


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	<item>
		<title>이 작품을 주목한다</title>
				
		<link>https://yeonjusohn.com/23998685</link>

		<pubDate>Tue, 08 Feb 2022 14:55:53 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/23998685</guid>

		<description>2020. group exhibition : 이 작품을 주목한다, Ewha Womans Universtiy, Seoul

Installation View &#124;


&#60;img width="5043" height="554" width_o="5043" height_o="554" data-src="https://freight.cargo.site/t/original/i/85bec9cf1d4c1fcf517df86eb5850fbbb61c4db9674e42471a136e70b9409946/0011.---2020---.JPG" data-mid="132849448" border="0"  src="https://freight.cargo.site/w/1000/i/85bec9cf1d4c1fcf517df86eb5850fbbb61c4db9674e42471a136e70b9409946/0011.---2020---.JPG" /&#62;

&#38;lt;흔들린다 흔들리다 흔들리다 흔들린다&#38;gt;, 2020, Bunchae colour on Jangji
&#60;img width="4752" height="3168" width_o="4752" height_o="3168" data-src="https://freight.cargo.site/t/original/i/ee0c3ffe63ef2206ac0ccd0b36ee7e8a82f0e5dfbf94d3205ef4484770ff9fef/2.jpg" data-mid="132849755" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/ee0c3ffe63ef2206ac0ccd0b36ee7e8a82f0e5dfbf94d3205ef4484770ff9fef/2.jpg" /&#62;
installation view&#38;nbsp;</description>
		
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		<title>Homepage</title>
				
		<link>https://yeonjusohn.com/Homepage</link>

		<pubDate>Tue, 08 Feb 2022 12:20:03 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/Homepage</guid>

		<description>
	&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;
&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;Working In Process / Timed Sculpture (2021)
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/fddfe48061f45b67ee74b57e3277adcab1c81bae26898a4a9c304af3fab69812/048.jpg" data-mid="245195038" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/fddfe48061f45b67ee74b57e3277adcab1c81bae26898a4a9c304af3fab69812/048.jpg" /&#62;&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/3ef77521622b13386b7414cbb408a6834dcef86d893a95f1845a8d3cb23c07e2/020.jpg" data-mid="245195039" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/3ef77521622b13386b7414cbb408a6834dcef86d893a95f1845a8d3cb23c07e2/020.jpg" /&#62;
Installation view : Nothing Lasts, Everything Lingers (Space Uooyoung, Duo show,&#38;nbsp; 2025, Seoul)&#38;nbsp;
copyrights : Image courtesy of 유영공간.&#38;nbsp; All rights reserved. From the exhibition Nothing Lasts, Everything Lingers, Space Uooyoung, 2025-2026.

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Installation view : Resonant Silence (Buysse Gallery, Duo show,&#38;nbsp; 2025, Knokke)copyrights : Image courtesy of Buysse Gallery. © Yeonju Son / © Brigitte Marionneau. All rights reserved. From the exhibition Resonant Silence, Buysse Gallery, 2025.&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/2ec042f47f4549482555e9684339147d542e5211af3bb54e7e5ce78e6d8c6590/2024-04-24-TickTack_2421_web.jpg" data-mid="234647678" border="0"  src="https://freight.cargo.site/w/1000/i/2ec042f47f4549482555e9684339147d542e5211af3bb54e7e5ce78e6d8c6590/2024-04-24-TickTack_2421_web.jpg" /&#62;&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/fc276368d4d5103242e3817564b16278fe3a68e7c0aad2f9778c8d824eb24d91/2024-04-24-TickTack_2411_web.jpg" data-mid="234647735" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/fc276368d4d5103242e3817564b16278fe3a68e7c0aad2f9778c8d824eb24d91/2024-04-24-TickTack_2411_web.jpg" /&#62;&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/4dd23e8c00013a5d70cf97f10ee5dfb91a6d6ab86eaad2381cc22091af1b130c/_DSF3240_web.jpg" data-mid="234647734" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/4dd23e8c00013a5d70cf97f10ee5dfb91a6d6ab86eaad2381cc22091af1b130c/_DSF3240_web.jpg" /&#62;Installation view : EUROSTARZ (TICK TACK, Group show,&#38;nbsp; 2024, Antwerp)copyrights : Image courtesy of Tick Tack,&#38;nbsp;All rights reserved.&#38;nbsp;


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Royal College of Art, Painting department degree show installation view (2023)&#38;nbsp;


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&#60;img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/24efd4c46d77ddff4da0777847ebb928cfe261873e2087e27494d37558592570/yeonju-son1392.jpg" data-mid="165954744" border="0"  src="https://freight.cargo.site/w/1000/i/24efd4c46d77ddff4da0777847ebb928cfe261873e2087e27494d37558592570/yeonju-son1392.jpg" /&#62;


Working In Process / Journey Series (2022)


	&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;
&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;&#60;img width="500" height="282" width_o="500" height_o="282" data-src="https://freight.cargo.site/t/original/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" data-mid="133994387" border="0"  src="https://freight.cargo.site/w/500/i/014876a7138b87b77e6f9ac4444e0f9344d0e74998e75b8ff2cd3133eb0f82f9/IMG_7245.GIF" /&#62;Working In Process / Timed Sculpture (2021)


</description>
		
	</item>
		
		
	<item>
		<title>CV</title>
				
		<link>https://yeonjusohn.com/CV</link>

		<pubDate>Tue, 08 Feb 2022 12:52:28 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/CV</guid>

		<description>ENG)&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
	Yeonju Son
Born in 1996 (South Korea) 
Lives and works in London - Seoul

Education 
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; M.A&#38;nbsp; &#38;nbsp; Royal College of Art, Painting 
2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;B.F.A&#38;nbsp; Ewha Womans University, Korean Painting 

Additional Education2025 (short course) City, University of London,&#38;nbsp; Curating and Exhibition Management
Selected Group Exhibitions 
2026&#38;nbsp; &#38;nbsp; &#38;nbsp; The Gilchrist-Fisher Award 2026 Exhibition of Work by the Winner &#38;amp; Finalists, Rebecca Hossack Gallery, London, UK

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; The bomb facotry foundation open studio, 103 kingsway, London, UK&#38;nbsp;

2025 &#38;nbsp; &#38;nbsp;&#38;nbsp; Nothinig Lasts, Everything Lingers, Space Uooyoung, Seoul, KR &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Resonant Silence, Buysse Gallery, Knokke, BE

2024&#38;nbsp; &#38;nbsp; &#38;nbsp; EUROSTARZ, TICK TACK, Antwerp, BE2023 &#38;nbsp; &#38;nbsp; The bomb factory Christmas show, 206 Marylebone road, London, UK
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; RCA MA painting degree show, Royal College of Art , London, UK2022 &#38;nbsp; &#38;nbsp; Mua無我,&#38;nbsp; Mandy Zhang Art , London, UK
Awards &#38;amp; Grants 
2025&#38;nbsp; &#38;nbsp; &#38;nbsp;Gilchrist-Fisher Award&#38;nbsp; 2026 (Shortlists), London, UK&#38;nbsp;
2020&#38;nbsp; &#38;nbsp; Pay attention to these works, Ewha Womans University, Seoul, KR

Residency
2026&#38;nbsp; &#38;nbsp; &#38;nbsp;(upcoming)&#38;nbsp;

Publications 
2022 &#38;nbsp; 3 decades,Ewha Womans University (Korean Painting department), Seoul , KR


BiographyYeonju Son (b.1996) is an emerging Korean artist based in London and Seoul, whose multidisciplinary practice expands across painting, drawing, sculpture, and installation. Her work engages deeply with questions of time, transforming, interconnecting, relational identity, and sensitivity. Her work operates an attitude and process of practice in facing life, existence, and memory, rather than producing images. Through moments of encounter, separation, loss, and coexistence repeatedly in her personal experiences,&#38;nbsp; the artist contemplates the Buddhist concept of ‘impermanence’; she attempts to capture the connectivity beyond it.&#38;nbsp; She has continually questioned how to perceive and live with disappearance and the end. These questions do not remain in the memories of the past; however, they are constantly connected to the present, space, body, and the place where her work is located.

Through repetitive and intuitive gestures- scratching, rubbing, layering, and removing - she records a material trace of moments and encounters, treating the surface as both site and subject. The act is not simply a process of creation, but a movement to capture the moment and linger with things that vanish. In her action, time is overlapping, piling up, and collapsing, blurring the boundaries between space with the work and physical space. It moves on to an attempt to sustain the sense that everything is connected.

She studied B.F.A Korean Painting at Ewha Womans University in South Korea, she recently achieved an M.A. degree from the Painting Programme at the Royal College of Art in the United Kingdom. Her latest group exhibition shows are&#38;nbsp; ‘The Gilchrist-Fisher Award 2026 Exhibition of Work by the Winner &#38;amp; Finalists (Rebecca Hossack Gallery, London, UK,2026)’,&#38;nbsp; ‘ Nothinig Lasts, Everything Lingers (Space Uooyoung, Seoul, KR, 2025) ,‘Resonant Silence (Buysse Gallery, Knokke, Belgium, 2025)’,&#38;nbsp; ‘EUROSTARZ (Tick Tack, Antwerp, Belgium, 2024), ‘Bomb Factory Christmas show (Bomb Factory, London,United Kingdom, 2023) etc.


KR)Yeonju Son
1996년 출생&#38;nbsp;
런던 및 서울에서 활동

Education 
2023&#38;nbsp; &#38;nbsp; 영국 왕립예술대학 회화과 석사 졸업 2021&#38;nbsp; &#38;nbsp; 이화여자대학교 동양화과 학사 졸업
Additional Education
2025 (단기코스)런던 시티대학교,&#38;nbsp; 큐레이팅 및 전시관리과 수료&#38;nbsp;
&#38;nbsp;주요 단체전&#38;nbsp;
2026.&#38;nbsp; &#38;nbsp;&#38;nbsp;The Gilchrist-Fisher Award 2026 Exhibition of Work by the Winner &#38;amp; Finalists, 레베카호삭 갤러리 , 런던,영국
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;The bomb factory 오픈스튜디오, 봄팩토리파운데이션, 런던, 영국&#38;nbsp;
2025. &#38;nbsp;&#38;nbsp; Nothinig Lasts Everything Lingers, 유영공간, 서울, 대한민국&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Resonant Silence, 바이스 갤러리 , 크노케, 벨기에 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
2024. &#38;nbsp;&#38;nbsp; EUROSTARZ, TICK TACK, 앤트워프, 벨기에
2023.&#38;nbsp; &#38;nbsp; &#38;nbsp;The bomb factory Christmas show, 206 Marylebone road, 봄팩토리 파운데이션, 런던, 영국&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; RCA MA painting degree show, Royal College of Art , 런던, 영국&#38;nbsp;2022. &#38;nbsp; Mua無我,&#38;nbsp; Mandy Zhang Art , 런던, 영국&#38;nbsp;
수상 및 선정&#38;nbsp;2025&#38;nbsp; &#38;nbsp; &#38;nbsp;Gilchrist-Fisher Award 2026 (수상후보), 런던,&#38;nbsp; 영국
2020&#38;nbsp; &#38;nbsp; 이 작품을 주목한다 , 이화여자대학교, 서울, 대한민국&#38;nbsp;

2026&#38;nbsp; &#38;nbsp;
&#38;nbsp;바이오그래피

손연주 (b.1996) 는 한국에서 태어나 런던을 기반으로 활동하는 회화 작가로, 페인팅, 드로잉, 조각, 설치등 다양한 매체를 넘나들며 변형, 유기성, 연결, 시공간과 감수성에 대한 탐구를 이어가고 있다. 작가의 작업은 이미지를 생산하는 데에 목적을 두기보다, 삶과 존재, 기억을 마주하는 하나의 태도이자 실천의 과정으로 작동한다. 작가는 개인적 경험 속에서 반복적으로 마주한 만남, 이별, 상실과 공존의 순간들을 통해 불교적 개념인, ‘덧없음(impermanent)’을 사유하며, 그 너머의 유기적 연결성을 포착하려고 시도한다. 작가는 사라짐과 끝남을 어떻게 인식하고 살아갈 것인가에 대한 질문을 지속해왔다. 이러한 질문은 과거의 기억에 머무르지 않고, 현재와 공간, 신체, 그리고 작업이 놓이는 장소와 끊임 없이 연결된다. 


작업의 핵심에는 반복적인 행위가 있다. 지우고, 다시 덧대는 과정을 통해 이 반복적인—긁기, 문지르기, 선긋기—행위는 단순한 제작 과정이 아니라, 순간을 잡고 사라지는 것들과 함께 머무르기 위한 움직임이다. 이 반복 행위에서 시간은 일방적으로 흐르지 않는다. 서로 겹쳐지고 쌓이고 무너지며 작업 안의 공간과 물리적 공간의 경계를 흐린다. 모든 순간이 머무르기 보다는 연결되어있는 감각을 지속하려는 시도로 나아간다. 


그는 이화여자대학교에서 동양화 학사를 취득한 뒤, 영국 왕립 예술대학교에서 페인팅 석사를 공부했다. 최근 전시로는 The Gilchrist-Fisher Award 2026 수상후보 전시(Rebecca Hossack Gallery, London, 2026), Nothing Lasts, Everything Lingers ( 유영공간, 서울, 대한민국 2025), Resonant Silence ( Buysse Gallery, Knokke-Heist, Belgium, 2025), ‘EUROSTARZ (Tick Tack, Antwerp, Belgium, 2024), ‘Bomb Factory Christmas show (Bomb Factory, London,United Kingdom, 2023)등이 있다. 


&#38;nbsp; &#38;nbsp;

</description>
		
	</item>
		
		
	<item>
		<title>Information</title>
				
		<link>https://yeonjusohn.com/Information</link>

		<pubDate>Tue, 08 Feb 2022 12:20:04 +0000</pubDate>

		<dc:creator>Yeonju Son</dc:creator>

		<guid isPermaLink="true">https://yeonjusohn.com/Information</guid>

		<description>


Yeonju Son( b.1996 ) is Korea born, London based artist, focuses on diverse materials including drawing, painting, sculpture and installation with ideas of transforming, interconnecting, time, and sensitivity.
Artist Statement (English)

My work began from the place where the low tide and high tide are dragging each other in 2018. I had been meeting the finite - infinite moment from the fleeting wind and clouds passing through my skin, waves escaping and coming back in, scattering leaves of trees constantly waving their body in the small and large wind. I was repeatedly asking questions about life amid encounters, co-existence, separation, and loss with small and large beings I met.

When I worked on the early ‘Journey painting series’, it was triggered by the lifelong question ‘ why I live’ and the experiences encountered to evolve my pressure to be perfect in the competitive community in Korea. At this point, it was considered one of the reasons why I do not want to express specific figures in my painting. I tried to dismantle my experiences which I had stuck to, rebounded, and deconstructed in an effort to exist as myself- the whole process of my painting was understanding about why I am doing this, what I want to see from this practice. From the painting, I had been exploring abstract imagery that emerges from the overly layered texture on the surface as a non-narrative form. I let images be blurred and reconstructed through my diverse range of actions - drawing lines, scratching, rubbing and so on. It seems an impersonal gesture rebounding against representing something.Over the past few years, while dismantling, building, and destroying my process in the journey paintings, I had chances to meet new people in unfamiliar places, losses and separations due to unavoidable circumstances. ; which was natural.

In Buddhism, it is said that everything is impermanent - just fleeting.

By now, for me, ‘Journey’ has reflected a sense of life’s uncertainty, floating within it and leaving traces as a result of that act in the work. It is meditative and cultivated. The process of ‘Journey painting’s left as a trajectory embracing and understanding all the moments I have experienced from dismantling myself. Accepting other beings and engraving in my mind ,whether meeting or losing, are connected from past to future- even if we do not have physical presence anymore. 

2021 was an insanely hard time in my life. I had separation experiences of loved ones from death. My grandfather passed away at that moment, I was continuously looking back on my childhood while I was walking to the cemetery with relatives. I had looked around the house where my mother was born and raised. The swing that was my childhood friend still hangs there. I always fear death when I close my eyes. Is time linear? What is at the end? Is the end the end? A few months later, my dog we had been together with for 12 years suddenly started to get sick. I cannot forget when she gradually stopped breathing. On that day, I made a self-centered decision to do my work and I didn’t stay with her. I highly regret my decision. And I am sure, this experience pushed me to re-understanding what is my value in life. Every relationship requests responsibility whether you receive love or give it. In the end, you need to accept huge pain. And yet, isn’t this the paradox of life? Even so, the reason why I am carrying my life is because the time I spent with loved ones was never in vain, so it stays somewhere in my heart, and I believe I shared our time with them.

I moved to the UK for my master’s degree in 2022. I believe studying abroad in London was inevitable for me. I have learnt loads of life-learning experiences - living as an alien taught me fear, naively, a side of myself I had not seen, how to be frustrated, how to miss, how to be humble, and the courage to say that I love what I see and like more. I thought my generation has quite a hybrid-culture from globalisation, nevertheless, I found my heritage and femininity in ways I might have tried to deconstruct while living in Seoul. There are definitely weird textures from my context due to the fact that I am not from this country. There are languages that are fixed and read in a specific way thanks to where I am coming from. Since then, throughout my journey practice , I have been understanding and accepting my whole experiences from a broader perspective.

When examining an individual closely, one would find a complex and multifaceted identity with various layers. While I mention my experiences, it is not to overcome them, but rather to acknowledge and understand them in an attempt to open up new possibilities. When someone gives a name in the specific object, it can be a possibility, simultaneously, limitation with labelling paradoxically. This is what I am afraid of. When I just group as a certain ethnic, or specific gender, my uniqueness is lost and becomes grouped under some concept which is pushing away diverse context. I also want to draw attention to what is behind what is defined. It is the reason why I do not use specific colours in my painting. At the same time, it is the reason why I have argued that black and white colour is including all the colours in the same place like mixture of colour and mixture of light. This is the possibility itself. I am trying to reveal myself as an unknown possibility. My journey will be the process of destroying the journey itself. It can be the concept itself of colour what I am asserting, the notion of painting itself.

Through the process of self-destruction and reconstruction, I am a stranger here, this is how I try to dismantle myself, I have found freedom and meditative energy. From encountering that shape to losing, I have been feeling we are still connected to each other. Journey is life, which is unpredictable, uncertain, disappearing, re-constructing, interconnecting, making harmony and rhythm. I surrender myself completely to this journey like an unpredictable past, akin to our unknown future.

&#38;nbsp;
아티스트 스테이트먼트 (한국어 / Korean )
1. 
나의 작업은 불교의 ‘무상함’과 연관이 있다. 이 ‘무상함’은 단순히 삶에 대한&#38;nbsp; 회의이라기 보다는, 그렇기 때문에 더 나은 삶을 지속하겠다는 삶의 태도에 대한 고민이라고 할 수 있다. 

지난 5년 동안 지속적으로 작업의 과정 안에서 나의 과정을 뜯어내고 쌓고 없애고 새로이 만나는 동안 다양한 삶의 모습을 면밀히 만나기 시작했다. 그 과정 안에서는 새로운 장소에서의 새로운 만남도 있었고, 어쩔 수 없는 상황에서의 상실도, 이별도 있었다.&#38;nbsp; 

작업들은 회화, 드로잉, 작은 제스쳐, 설치 등 다양한 소재를 넘나들고 변형, 유기성, 시간 및 섬세함에 대한 개념과 연관이 있다. 작품은 작가를 반영하고, 작업의 과정은 나의 삶의 태도이다. 작업을 하면 할 수록 사랑하는 것들을 더 사랑하기 위해서 이해하는 과정이다. 나에게 있어 부딪히는 경험들을 통해 존중이라는 가치가 너무 중요하다는 점을,&#38;nbsp; 작업은 나 또한 나를 사랑하듯 어떠한 낯선 폭력으로부터, 자신을 존중하고 타자를 존중하는 사람이 되기 위한 수행의 과정이라는 것을 깨닫는다. 차갑지만 뜨거운 감각의 수행이다. 

2.
작업이 보여주는 이미지는 추상적이지만, 접근 방식은 개념적이다. 대부분의 작업은 큰 흐름 속에서 이어진다. Journey Series 의 작업의 경우, ‘무아’의 개념과 맞닿아있다.&#38;nbsp; 초기의 작업은, 나로 존재하기 위해서 고군분투하는 경험과 익숙함의 반동으로부터 시작되었다. 나의 행위를 계속 쌓아올리고,지우고, 덧대고, 구축하는 과정 중에서 삶의 순간들을 만나고 어느 순간 자기를 인식하지 못하는 순간에 자연스럽게 작업이 마무리 되는 과정이었다. 작업을 진행할 수록, 스스로를 비워가는&#38;nbsp; 과정을 통해 명상적 힘을 발견하게 되었다. 

Still Painting / Singularity Series 작업의 경우, 영국 유학생으로의 삶과 꾸준히 지속되었던 회화에 대한 질문과 연관이 있다. 유학 시절, 감당이 어려웠던 재료비 때문에 학교에서 버려지던 제작되고 남은 나무들을 통해, 이것들도 회화의 재료가 될 수 있을까라고 시작했던 질문들이 ‘무엇이 회화를 회화로 만드는가’에 대한 질문으로 확장되었다. Journey Series가 회화의 행위에 대한 질문이었다면 Still Painting/ Singularity 은 회화의 구조에 대한 질문이라고 할 수 있다. 

Linger in the Stillness 는 최근 5년 동안 긴 호흡으로 연구해오고 있는 작업으로 ‘시간’에 대한 질문을 조각으로, 조각을 도큐멘테이션의 형식으로, 다시 회화의 구조로 가지고 오는 작업이다. 조각이 다시 회화가 되는 (transformation) 과정을 통해서 사라지는 것과 순환하는 것에 대한 고민을 지속적으로 유도한다. 

3.
21년도는 꽤나 힘든 한 해였다. 사랑하는 사람들과 순간들을 죽음 앞에서 마주했어야 했다. 외할아버지가 돌아가시며 친척들과 함께&#38;nbsp; 마지막을 배웅하는 길에서 끊임없이 나는 나의 어린 시절을 회고 하고 있었다. 엄마가 자라온 외갓집을 둘러보았다. 아직도 그 곳에는 어린 시절 벗이 되어주던 그네가 매달려있다. 몇 달이 지나지 않아, 12년을 함께한 강아지를 떠나보내며, 내가 지키지 못한 마지막 순간을 두고두고 후회했다. 모든 만남에는 책임이 따른다. 이것이 삶의 역설이 아닐까. 그렇게 마음 어딘가에서 머무르며, 계속 함께했던-하는- 할 시간을 공유하고 있지 않을까 믿어본다. 

영국에서의 유학이 나는 필연이라고 생각한다. 이방인으로의 삶은 두려움을, 나에게는 어리숙함을, 보지 못한 이면을, 좌절하는 방법을, 그리워하는 방법을, 감정을 받아들이는 일을, 이야기할 수 있는 용기를 배우게 했다. 어쩌면 내가 해체하고 싶었던 나의 국적성과 여성성을 다른 방식으로 만나게 되었다. 내가 이 나라 사람이 아니기 때문에 신기하게 비추어지는 모습들이, 특정한 방식으로 고정되어 읽혀지는 언어들이 있다. 그럼에도 불구하고, 나는 이 해체의 과정을 통해 나의 민족성과 역사를 넓은 관점에서 이해하고 받아들이게 되었다. 이 과정 또한 내가 나와 함께 한 존재들의 소중함을 남기듯, 이해하기 위해 더 다양한 것을 받아들이고 열어가는 과정을 만난다.

현재에 있어서 나의 회화와 조각들은 어떤 알 수 없는 삶의 불확실성 안에서 부유하고, 경험하는 것들을 포용하는 과정에서 흔적으로 남기 시작했다. 스스로를 파괴하고 재구축하는 과정 속에서, 새로움으로 낯섦으로 나를 만나고자 했다. 나는 이 곳에서 이방인일지 모르지만, 과정 속에서 자유로워지고 명상적인 힘을 발견한다. 만남부터 상실까지, 나는 우리가 연결되어있다는 감각을 느낀다. 다시, 나에게 삶의 태도는 무엇인가? 너와 나는 다름이지만 같음이기도 하다. 나의 작업은 예측할 수 없고, 사라지고, 구축되고, 결합되고, 하모니를 만들고, 리듬을 만든다. 삶의 역설처럼. 


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