Solo Exhibitions (Brief)

Son held a solo exhibition 《Swelled Sun: How To Sense The Invisible》 (CYLINDER ONE, Seoul, 2023).

Group Exhibitions (Brief)

Son has also participated in numerous group exhibitions, including 《The Rings of Saturn》 (Bucheon Art Bunker B39, Bucheon, 2024), 《Begin Again》 (Korean Cultural Centre UK, London; Koreanisches Kulturzentrum, Berlin, 2022), 《Bow Open, About-face: regroup, reorganise, reimagine》 (Nunnery Gallery, London, 2021), 《The Spring Exhibition – Inhale and Exhale》 (Kunsthal Charlottenborg, Copenhagen, 2019), and 《Parlour Geometrique》 (Chiswick House and Garden, London, 2018).

Residencies (Selected)

Son has also participated in residency programs such as Snehta Residency (Athens, 2018).

Originality & Identity

Kyungmin Sophia Son’s practice begins with a reconsideration of the position of the human within the conditions shaped by technological development and the post-Anthropocene world. Based in London, she explores transhumanism, interspecies relationships, and interactions with non-human entities, proposing a perspective that moves beyond anthropocentric frameworks of understanding. As seen from Believe me / Life Attitude(2017), she juxtaposes industrial materials and everyday objects to construct a line of inquiry that blurs the boundaries between humans and matter, life and non-life.
 
This line of inquiry becomes more explicit in IF YOU ARE LUCKY YOU WILL SEE IT(2018). The work assumes a condition in which nature and technology, past and present coexist simultaneously, disrupting the linear structure through which humans perceive time and space. Through the intersection of ancient Greek temporality and contemporary sensibility, the artist reveals that the present moment is the result of multiple layers of time overlapping.
 
This exploration further expands in the ‘How to Sense the Invisible’(2019) series, particularly in Dune(2019) and Metamorphosis(2019), where she focuses on states in which individual entities cross boundaries, mutate, and coexist. Here, the world is understood not as a fixed structure but as a constantly transforming and reassembled network of relations, within which humans are also situated. The artist operates across both microscopic and macroscopic scales, visualizing forms of connectivity that function beyond human perception.
 
In her first solo exhibition 《Swelled Sun: How To Sense The Invisible》(CYLINDER ONE, Seoul, 2023), along with works such as Survivor (on the horizon)(2023) and The Sun (a system of friction)(2023), this inquiry is presented as a more integrated structure. By traversing relationships across the Earth’s surface, the deep sea, and outer space, she proposes a complex ecology in which human and non-human entities are entangled, prompting reflection on the conditions of a world shaped simultaneously by technology, capital, and environmental change.

Style & Contents

Son’s practice is characterized by a hybrid media structure that combines sculpture, installation, digital imagery, and collage. Beginning with Believe me / Life Attitude, she juxtaposes heterogeneous materials such as metal, grain, plastic, and textile, constructing an ecological structure through the collision and connection between materials. Rather than aiming for a singular, resolved sculptural form, this approach focuses on revealing the state in which diverse elements are entangled.
 
In Dune and Metamorphosis, planar images and sculptural structures are combined, presenting matter as something that maintains a fixed form while simultaneously remaining fluid. In particular, the integration of image collage and structural elements reflects the ways in which digital data and the material world interact, expanding the work into a mode where visual and physical layers operate simultaneously.
 
In Vein ver.0.1: Orbital Transition(2021), emphasis is placed on the process by which sculpture is formed through reliance on gravity and the inherent properties of materials. Here, form is not a completed result but a state generated through the balance of forces and tension, operating in a way analogous to how living bodies transform through interaction with their environments.
 
In more recent works, she physically materializes invisible connections through structures composed of aluminum frames, wires, and cables. The installations presented in 《Swelled Sun: How To Sense The Invisible》 reveal that entities existing across different positions and scales remain connected beyond sensory perception, transforming sculpture into a device for visualizing relationships. At the same time, works such as Dweller(2023) and How to Catch the Big Fish(2023) present hybrid forms that traverse the boundaries between biological and non-biological entities, allowing sculpture to function as a composite body.

Topography & Continuity

Son’s practice maintains a consistent focus on exploring relational structures in which diverse entities are entangled, moving beyond an anthropocentric worldview. Beginning with material experimentation and sculptural assemblage, her work gradually expands toward interspecies relations, ecological cycles, and the interactions between technology and environment, developing into an approach that understands the world as an interconnected system.
 
Her work does not remain fixed within a single medium but develops across sculpture, image, installation, and structural composition. In particular, her approach to handling material, image, data, and body simultaneously aligns with broader tendencies in contemporary art that seek to think through both digital environments and material reality, while distinguishing itself by extending this inquiry into ecological and ontological dimensions.
 
She also connects philosophical concepts and visual form through a research-based methodology. Drawing on thinkers such as Donna Haraway and Bruno Latour, her attempts to reconfigure relationships between human and non-human entities go beyond conceptual reference, becoming operative structures within the formal composition of the work itself.
 
Within this trajectory, Son’s practice does not converge toward a fixed form but maintains a state in which diverse elements continuously intersect and are reconfigured. Her sculptures function not as complete objects but as structures that reveal a moment within a network of relations, retaining a quality of fluid expansion in response to changing conditions. In this sense, her work establishes a distinct sculptural approach for engaging with the complexity of the contemporary world.