Shin Hoyoon 신호윤
Korea ｜ 1975
[Exhibitions]
2022.04. ‘The Milk of Dreams’ Swatch faces 2022 at the biennale arte
(Arsenale, Sala d’Armi, Venice, Italy)
2019.12. L'archeologia D'arte (National Archaeological Museum of Naples, Naples, Italy)
2019.08. The Splendid Languages of Paper (Zhejiang Museum, Hangzhou, China)
2018.08. 9th Lucca Paper Biennale (Lucca, Italy)
2018.06. Paper Moon (Contemporary art museum of crete, Greece)
2017.12. Salon Des Beaux Arts 2017 (Carrousel du Louvre, France)
...
[Awards]
2018. Lifetime Achievement Award at Lucca paper Biennale
2017. Silver medal at Salon Des Beaux Arts
2012. Grand Prize Winner of the Korea Paper Art Contest
[Important collection]
Dosunsa (Korea), Swatch Group (Switzerland), Lester Marx Collection (USA), Yung Collection (Korea), Crown Haitai (Korea). Jianye Housing Group Co., Ltd.; Jianye Meridien. (China), Gwangju Museum of Art (Korea), National Assembly Building (Korea). Paper Museum (Korea), Jeonnam Museum of Art (Korea)
The artist constructs and structures flat paper to create three-dimensional forms. To the artist, paper is a material that is both ubiquitous and accessible, with clear advantages and disadvantages. The transparency and warm tactile quality of paper resonate with the innate sensitivity of the human spirit. Conversely, paper’s tendency to easily crumple and tear reflects the fragility of individual human existence. Concepts like the ordinary, the common, and the general can be mapped onto the self or the individual, suggesting that overcoming the weaknesses of paper and maximizing its strengths can be seen as a metaphor for personal growth.
The artist, originally trained in sculpture and accustomed to working with heavy materials like bronze or steel to create large forms, found a new interest in smaller, more delicate materials such as erasers and straws. By combining these materials, the artist developed a method for creating solid structures. This shift seems to stem from a recognition of the fragility of individual existence and a personal desire to overcome it. This idea has evolved into the artist's current practice of structuring paper, which began in 2005.
[Painting Caption]
1. <Darkest valley inside my heart?>_45x30x25cm_paper cutting, urethane paper, 2024
2. <There is no essence-pensive bodhisattva>, 28x10x10cm, urethane clear on paper, 2024
3. <There is no essence-pensive bodhisattva>, 28x10x10cm, urethane clear on paper, 2024
4. <There is no essence-pieta>, 45x30x25cm, urethane clear on paper, 2024
5. <In the mask>, 45x25x25cm, urethane clear on paper, 2024
6. <In the mask 007>, 45x30x25cm, urethane clear on paper, 2023
7. <In the mask 003>, 45x50x30cm, urethane clear on paper, 2022
8. <In the mask 001>, 45x35x30cm, urethane clear on paper, 2022
9. <There is no essence-pensive bodhisattva>, 60x35x25cm, urethane clear on stainless steel, 2022
10. <There is no essence-Guan Yin>, 95x55x55cm, urethane clear on stainless steel, 2022
