Yoon’s work is distinctive in the way it moves the world of
private emotions into a public field of discussion. She deals with experiences
that may seem personal or minor, such as love, separation, noise, and care, but
she does not reduce them either to sentimental confession or to social
assertion. Instead, she transforms experience into material, leaves it as
record, and invites viewers into its structure, sensorially revealing the
process through which emotion meets social conditions. In this respect, her
work re-asks questions of feminism, community, care, and technology not as
theoretical slogans, but at the level of concrete scenes and actions.
Looking at the trajectory of the artist’s
practice, Romantic
Images and Romantic Eiffel analyzed
the structure of image consumption and romantic fantasy, while 《Over You》 dealt with the complex emotions of
a female subject who loves and is wounded within that structure. 《Living with the Trouble》 then moved toward
the issue of apartment housing, where private discomfort and social structures
overlap, and 《Care and Maintenance》 reconsiders relationships of care and dependence through the
dimensions of humans, technology, and the body. This change is not a sudden
shift in subject matter, but rather a gradual expansion of the ways in which an
individual relates to others, moving through the fields of love, neighbors,
community, and care.
While many contemporary multimedia practices focus either on
technological experimentation or social messaging, Yoon persistently examines
the question of “how to respond.” Her work does not claim to solve problems.
Instead, rather than responding to a problem with anger, cynicism, or passive
waiting for luck, she creates other forms of sensation and action. Turning
dried flowers into ink, moving a ceiling onto the floor, appropriating an
intercom as an interview device, and transforming a hand massager into a
machine that leaves traces of relationship are all attempts to use given
structures otherwise. This attitude is an important characteristic of Yoon’s
practice, as it expands private experience into the public sphere while
carefully negotiating the hierarchy between artist, viewer, and participant.
Solin Yoon studied painting and art history at Ewha Womans
University, received her MFA in painting from Seoul National University, and
attended the Skowhegan School of Painting and Sculpture in the United States.
Her recent solo exhibitions include 《Care and Maintenance》(Art These Days + Art
These Days 1st Floor, Seoul, 2025), 《Living with the
Trouble》(ONSU GONG-GAN, Seoul, 2023), 《Hands, Hands, Hands》(Homesession, Barcelona,
2023), and 《Over You》(Post
Territory Ujeongguk, Seoul, 2021). She has participated in exhibitions in Korea
and abroad, including 《The Flâneur of Errors》(Seoul National University Museum of Art, Seoul, 2026), 《Tread Softly, For You Tread on My Dreams》(Daejeon
Museum of Art, Daejeon, 2025), 《Shared Territories:
Resonances, Layers and Echoes》(Buenos Aires, Argentina,
2024), and 《Double:Binding:World:Tree》(Post Territory Ujeongguk, Seoul, 2024). She has also been selected
for residencies including Proyecto'ace Artist Residency(Buenos Aires,
Argentina, 2024), Vermont Studio Center Artist Residency(Vermont, USA, 2024),
and Suwon Art Studio PRJD(Suwon, 2026). These activities show that Yoon’s
practice, while rooted in the specific emotions and conditions of Korean
society, is expanding toward broader questions of gender, relationship, community,
and care.
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