Jayoung Yoon
Beacon, New York
Website
www.jayoungyoon.com
Social Media
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How would you describe your work?
I created semi-transparent forms by intricately weaving and knotting strands of my own hair together. The nearly weightless sculptures, composed of woven strands of hair, move in space with the shifting airflow and respond to the viewer’s locomotion. These gentle movements in space, and intricate details, shift the viewer’s awareness of their surroundings and introduce subtle perceptions that are often taken for granted. Additionally, the semi-transparent sculptural forms are woven from fine strands of hair, symbolically embodying ineffable thoughts and memories. For instance, in my “Sensing Thought” series, I envisioned Thought Clouds juxtaposed with thorns representing fragments of memories. This concept is further explored in "The Portal," which symbolizes my stream of thoughts gradually dissipating into another dimension. It features a vanishing point suspended in the air, inviting viewers to gaze upward and contemplate their own stream of thoughts, pondering what lies beyond the realm of our current understanding.
What inspires you?
I draw inspiration from Buddhist philosophy, specifically the concepts of form and emptiness, which highlight the interconnectedness and ever-changing nature of all phenomena. Through my art, I embark on a poetic exploration of form and emptiness, delving into the question of what emptiness truly signifies. To convey these ideas, I utilize shimmering veils meticulously crafted from human hair, and other natural materials including horsehair, feathers, and milkweed seed fiber, to contemplate the fleeting and ephemeral nature of our existence. They evoke a sense of fragility, inviting viewers to reflect upon the transient nature of life. Moreover, by intricately interweaving and knotting delicate materials over time, I hint at the underlying interconnectedness of all beings, symbolizing the interwoven fabric of existence.
Can you speak about your process?
To create semi-transparent works, I focus on the spacing and rhythm between each strand of my own hair.
For my wearable hair sculptures, I start with one knot and then make the next, similar to hand-knotting a fishing net. For some other hair sculptures, I create homemade looms. With a threaded needle, I weave the hair together into a mesh, akin to traditional hand-weaving techniques, and secure it permanently using glue.
For painting series, I stretch each strand of hair and wrap it around the sides of the canvas. I use glue to hold it in place. I create compositions of grids, geometric shapes and circles with repeated hair lines. Then I use acrylic medium to cover the hair and let it dry.
How did you become interested in art?
The environment in which I grew up naturally led me to become an artist. Many of my family members are talented in various art forms. My mother is a Traditional Korean dancer and musician, one of my aunts is a Traditional Korean embroidery artist, and another is a ceramic artist. As a result, I was constantly exposed to performance art, textiles, and ceramics during my childhood.
While I enjoyed painting and drawing, I loved working with tactile materials to make forms. I was drawn to the sensation of textures, weight, and temperature on my hands, such as clay and natural materials. I can now see that many of these early interests are still present in my recent artworks.
Do you have any favorite artists, movies, books, or quotes?
I appreciate films that unfold time and space, visualizing invisible realities and capturing subtle moments. I draw inspiration from films like 'Samsara' and 'Baraka' by Ron Fricke, as well as Bill Viola's video art. Additionally, I admire Ann Hamilton's installation art, which allows us to fully engage with architectural space through the elements of hearing, sight, and touch.
Any more thoughts about art, creativity, or anything else you would like to share?
I'd like to share a video performance from 2009 titled 'Listening to the Mind.' It was a video performance I staged outdoors in an open space. I installed a hair sculpture, connected it to my ear, and lay down on the ground for ten hours. During that time, I felt the temperature changing, observed the subtle movements of the hair sculpture in my ear, and sensed the wind blowing over my naked body. I had the experience of my body disappearing into the universe, becoming one with nature. It was a transformative experience, even though I didn't know about meditation at that time. Looking back, I believe this performance led me to explore meditation practices.
After several years, I learned the Vipassana Meditation technique, which begins by observing the natural breath and then continues with close attention to body sensations. However, some spiritual teachers suggest that meditation doesn't have to follow a specific form; it can be practiced during everyday activities while being fully present in the moment. I have found that my art processes, such as weaving and knotting, as well as my performance work, serve as forms of meditation.
