Solo Exhibitions (Brief)

Moon has held solo exhibitions including 《Driftroot》 (CR Collective, Seoul, 2025), 《Tactile Recall》 (Rainbowcube Gallery, Seoul, 2022), and 《Living Island》 (CICA Museum, Gimpo, 2020).

Group Exhibitions (Brief)

Moon has also participated in numerous group exhibitions, including 《Sak-da: The Poetics of Decomposition》 (MMCA, Seoul, 2026), 《Madang: Embracing You》 (Suwon Museum of Art, Suwon, 2023), 《The 8th Summer Saeng-Saek》 (Insa Art Center, Seoul, 2023), 《Skyline Forms on Earthline》 (DOOSAN Gallery, Seoul, 2022), 《Selfish Art-Viewer》 (Seoul Art Space Geumcheon, Seoul, 2021), and 《The 21st-century optimists》 (Art Centre Art Moment, Seoul, 2021).

Residencies (Selected)

Moon has also participated in various residency programs, including Pier 2 Art Center (Kaohsiung, Taiwan, 2025), the Jan van Eyck Academy (Maastricht, Netherlands, 2023–2024), Pureunjidae Changjak Saemteo (Suwon, 2023), MMCA Residency Goyang (Goyang, 2022), and Seoul Art Space Geumcheon (Seoul, 2021).

Originality & Identity

Sujin Moon’s practice begins with a sculptural inquiry into how humans perceive the world, particularly focusing on sensations and memories accumulated through the body. In her early works Material Play(2013) and the ‘Waterway’(2015–2016) series, she experimented with how materials such as soil, glass, and plaster transform according to time and conditions, revealing the gap between human assumptions and actual outcomes. While these works concentrate on exploring the intrinsic properties of materials, they simultaneously demonstrate an attitude of re-testing what we believe we already know.
 
This interest gradually expands into questions of perception around 2019. In the ‘World Maps’ series, particularly World Maps: Orange Peel Problem(2019), she exposes how the images of the world we take for granted are in fact based on distorted structures, prompting a reconsideration of the discrepancy between “knowledge” and “perception.” In Into the Grid, she directly inserts her own body into space, shifting from the position of an observer viewing the external world to that of a being passing through the world bodily.
 
Her practice is then reorganized around the keyword “a metaphor of life.” Notably, Living Island(2020) reveals the condition of a being destined to disappear over time through a performance of piling snow to create an island that will eventually melt away. Conducted through repetitive labor in a precarious environment, the work experientially demonstrates how life simultaneously contains continuity and instability, beauty and the possibility of death.
 
By the time of her solo exhibitions 《Tactile Recall》(Rainbowcube Gallery, 2022) and 《Living, Leaving》(CR Collective, 2025), this inquiry becomes more concretely focused on relationships and memory. Works that trace the memory of her grandmother through touch, or that address ecological cycles through paper and seeds, extend beyond personal experience to contemplate relational structures between self and others, as well as the entanglement of life and death. Here, the “body” functions not merely as a medium but as the most fundamental framework for understanding the world.

Style & Contents

Sujin Moon’s work unfolds through an organic combination of sculpture, performance, installation, and text. In her early works, experimental methods such as directly heating materials or allowing water to flow over them were central, focusing not on results but on the transformations occurring in the process itself. In this phase, form operates as an experimental apparatus, and the outcomes remain as traces of change rather than completed sculptural objects.
 
In her subsequent performance works, the artist brings her own body forward as a primary medium. In Breaking words: through body(2018), she transforms the act of erasing language into a performative process by rolling a cylinder inscribed with text, while in Living Island she creates a structure destined to disappear in nature through prolonged labor. Here, video documentation does not simply record the work but functions as another layer that stands in for time that cannot be directly experienced by the viewer.
 
In 《Tactile Recall》, this approach shifts into tactile-centered installations. Phone Book Headstone(2022), Phone Book, and Her Silence: Spoken Words encourage touching rather than reading, translating language into a tactile experience. In particular, embossed sentences on paper and metal type generate a sculptural event of “surface meeting surface,” actively engaging the viewer’s body.
 
In recent works, her practice expands further through the combination of paper, plants, and digital media. Single Sheets(2019–2025) contains traces of time and place through paper made from plants collected across various locations, while The Cast(2025) and The Standing introduce processes of germination into the exhibition space. Additionally, In the Garden extends tactile experience into a digital environment through 3D scanning and interactive devices. In this way, her work has developed from material-based sculpture into a complex structure where sensation, time, ecology, and technology intersect.

Topography & Continuity

Sujin Moon’s practice has steadily expanded from material experiments to performance, and further into tactile installations and ecological works, all grounded in the consistent axis of “perception through the body.” While her early works focused on observing the transformation of materials, she later introduced her own body as a variable in experimentation, eventually extending her inquiry toward relationships with others and cycles of life. This trajectory reflects a sustained emphasis on process over result, and transformation over completion.
 
A distinctive feature of her work lies in how it forms relationships with viewers through tactile experience. Unlike many sculptural practices that remain within visual appreciation, Moon invites the completion of the work through actions such as touching, turning, and making contact. In doing so, she repositions sculpture as an art of the body while simultaneously drawing the viewer into the work as an active participant.
 
Her use of text is also characteristic. Rather than functioning as a tool for conveying meaning, language operates as a medium that induces tactile experience. Letters are not meant to be read but to be touched, and memory is not organized into narrative but sensed in fragments. This approach acknowledges the incompleteness of language while generating a deeper sensory experience through it.
 
Her recent works involving plant-based paper and digital media further extend this trajectory into ecological and technological dimensions. The entangled structures of paper, seeds, time, and environment position humans not as independent subjects but as relational beings, connecting her work to a broader ecological context. In this sense, Moon’s practice does not converge into a fixed medium but continues to expand through flexible structures centered on sensation and relation.