JINO SON
Holding a Scenery (2025)
This work does not attempt to represent a landscape, but instead holds a scene shaped by weather. It comes from an interest in atmospheric conditions—such as gray-blue skies clouded by dust, mist, or shifting light—where perception is defined by climate rather than form. Through heat-patentated metal surfaces, these conditions are translated into material responses rather than images. Composed of thousands of stainless-steel discs, the surface remains unfixed, shifting and shifting under gravity and tension. Sunlight, wind, rain, and sound continuously alter the work, allowing weather to pass through and briefly inhabit it.
(1,000 heat-patinated stainless-stell discs, Steel strucural frame, Rings, Stell wire cable, Ground screw anchors, Weather conditions)
(204″ × 98″ × 39″)
A Flower’s Dilemma (2024)
Life is rooted in death. Trees grow from fallen leaves, and new life emerges from past remnants. Our existence depends on the death of other beings—each breath and meal connects us to their sacrifice. We stand on our ancestors' legacy whose genetic, spiritual, or material contributions shape us. Life and death form a cyclical pattern, with rebirth through reincarnation, resurrection, or enlightenment. They are inseparable, two sides of the same coin, revealing a singular truth. Therefore, I have decided to create this particular piece to amplify my expressions of life and death in coexistence.
(Metal)
(11”x 10.6” x 11”)
Holding Scenery /
A Typological Process (2025)
This work developed during the process of Holding Scenery, where I discovered a typological approach within my method of working. Using the same material, scale, and repeated action, I observed how fire and heat produced different variations each time.
Each of the 1,000 discs was individually documented and compiled into a video, emphasizing repetition as a way of revealing change. Although the act remained consistent, the outcomes continuously shifted, forming a typology shaped by repeated action and natural response.
(1,000 Pictures of discs)
What am I made of? (2025)
This work began with seeing a pillar in the river. Although the pillar never moved, it was continually shaped by its surroundings. I became interested in how an environment leaves traces and how those traces slowly form a body.
Materials gathered from my surroundings accumulate into a column, treating it as a force of formation. Placed outdoors, the work allows short and unintentional encounters to quietly participate.
(Beeswax, sawdust, leaves, stones, glass, lavender, moss, branches, thread, metal, acrylic paint, and the presence of the viewer)
(48” x 12”x 12”)
The Moment After Scatter (2025)
This work is based on the verb scatter from Richard Serra’s Verb List. I started by dripping water onto molten glass, triggering a violent reaction of boiling, sound, and rapid movement. When that same glass was returned to the kiln and later removed, it appeared unexpectedly quiet and still. The work frames the contrast between the explosive action and its calm aftermath.
The piece is made of an elongated aluminum column containing the glass inside. As the opening slowly narrows, light and sound from within fade before reaching the viewer’s eyes and ears. The hammered aluminum surface also softens toward the end, echoing the gradual dissipation of energy from impact.
(Glass, water, aluminum, sound, light)
(48” x 12”x 12”)
Bone Marrow (2024)
This piece symbolizes the protection of inner strength and essential values of oneself. Through a strong external structure that resembles bones, the artwork encases and safeguards the light that shines within. As the bones represent strength and support, the light signifies our pure and fundamental inner essence that longs to be preserved in a somewhat fragile form. The structure conveys the harmony between external resilience and internal fragility, emphasizing the effort to preserve and highlight the importance of embracing the core innocence of one’s mind.
(Bass, LED, Hard Gesso, Acrylic, Fabric)
(14” x 14” x 59”)
Branch Experiment (2025) Collaboration
Cyanotype was used to observe the texture and grain patterns of different types of wood. The process was exploratory, allowing each print to reveal different physical characteristics. The final pieces were later installed on the beach as a land art installation, where they interacted directly with wind, sand, moisture, and light.
(Cyanotype on Branches)
One Posture, Three Responses (2025)
This sculptural series explores how the human body resonates with nature — through stillness, transformation, and return.
- 1,Made of bees wax and sawdust, represents stillness — a meditative body staying present within natural time, unmoving but open to subtle changes in the surrounding environment.
- 2,Formed from soil and growing moss, shows growth — nature slowly emerging from within the body, suggesting porousness and entanglement.
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3,Made of paper pulp, expresses disappearance — the body gradually dissolving into nature, as if slowly given back to the world through natural processes.
Together, these follow a cycle of sensing becoming, and returning — a quiet dialogue between body and nature.
(Beeswax, Sawdust, Soil, Living Moss, Used Paper)
The Spin Never Stops,
Yet We Remain Seated (2025) Collaboration
The image of daily repetition begins with the image of repetition. Laundry once performed at the public site becomes a metaphor,but for the universal rhythm of life.
Rotation here is not a mere physical motion; it is the persistence of human existence, where repetition, circulation, and variation coexist. Rotation here embodies this paradox: while the body remains in place, life keeps revolving.
The audience is invited to confront their own cycle of living, the weight of repetition, and the stories that emerge within it.
(Motor,Korean,Paper,Wire,
Skirt,Foam)