Jiyoon Yang finds her awe at the vital energy that blossoms within the cycle of nature, the repetition and strength of it, as a driving force behind her work. Reflections on the energy and vitality of spring lead to explorations of the fundamental elements of nature, such as plants, water, and light, as well as their essence and origins. Through this process, she confirms and reconstructs the affirmation of life, completing the work with an organic and expansive structure. Jiyoon Yang focuses on the hope that humans can rely on in the cycle of seasons as spring returns after a cold winter. She wants people to feel like they are part of nature and to embrace the emotions that bloom in the cycle of life and the flow of energy. Sometimes it may be a trace of a small wish to sublimate the loneliness and longing encountered at a crossroads in life. The tough and durable character of the special material called ‘Hanji-Korean paper’ delicately and metaphorically weaves together the meaning and formative elements of the work.
Yoonjae Bae uses natural objects, especially fruits, plants, and landscapes with round and organic shapes, as the main subject matter of her work. They are easily seen around her and are always interesting objects that inspire her. Rather than realistically expressing shapes, she focuses more on the process of perceiving and recognizing objects and the “ambiguity” felt as they transform into images in memory over time. What was clear is taken out again through memory, leaving behind an uncertain mass. Through the subtle changes in color as various colors overlap and the carefully composed shapes and uneven surfaces, she seeks to approach the essence of shapes that are a mixture of metaphysics and sensation.
