Artist Q&A: Yoon Miseon

The world is getting smaller. Not literally of course, but in the reach/impact that an individual can have. Nowhere is this more apparent than in the world of the creative. The artist. Emotions and experiences though different, still can be related to universally. The human condition is after all a mosaic of experiences that make up the places we live.

Emotions and feelings are the universal languages. So it should be no surprise that we related so much to an artist like Yoon Miseon. So much emotion is put into each piece. For her it’s somewhat theraputic. A way of working through her past troubles that may still be a burden. Again this is something I think people everywhere can relate to. Especially myself. At a glance it’s obvious there is more to her work than the mere image, but let’s allow her to give us the bigger picture.


What made you decide to pursue being a full time artist?

I spend most of the day doing work or thinking about things related to it, and when I spend time related to work, I get answers from him and new things happen.

Do your pieces always start out as sketches, or do you also work more free form at times?

Unconditional sketch. Whenever I come up with a feeling or idea I want, I do sketch each time.

“Why do I have to look at the’ human relationship ‘in an unsteady gaze.”

In your portraits (which are amazing by the way), there is so much emotion. The texture and colors all help to set a mood of depth and reflection. Is this the emotion you intend or is it just what the subject evokes?

I study and express the balance between my insecure view of human relationships and the general (called normal) form.

As a freelance artist is it difficult to find balance in art for arts sake versus art for profit, or are the lines sometimes blurred?

It is very difficult to get that balance. I think it is probably a big problem for all artists.

Your work seems very emotionally charged. Is it therapeutic or taxing to put so much into each piece?

This is the reason why I was working to heal the mental trauma of my childhood. So I feel that these feelings are inevitable for my work. As I mentioned above, balancing between my crooked uneasy gaze and general intact form is only part of the future.

I was reading in Toner Magazine where you said that you were inspired by “human shapes and geometric objects that are balancing in imperfect forms.” So in a way your art imitates life? Maybe the better way to say it would be that your work is more a reflection of you?

My long – lasting psychological pressure made me very disturbed about all things or relationships around me. That part has eroded all my parts and I am balancing it by expressing it in my paintings. I analyze my unstable gaze, express my balance, balance my thoughts on the next artwork.

How do you hope your work impacts others? Is that even the point at all?

If the form I express is emotionally communicated to another, it is surprising and interesting in itself.

Some artist do what they do with a goal or primary motivation behind the hard work. What’s yours?

Finding a working in a working is a “truth” and takes as much time as possible for the working.

Are you close to that goal?

I keep going.

Any advice for other artists?

Living as an artist is another way to identify myself. I want you to feel the endlessness and to move forward.

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