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-patinated 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-steel discs, Steel structural frame, Rings, Steel wire cable, Ground screw anchors, Weather conditions)
(204″ × 98″ × 39″)
Holding a 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)
Rain Table (2026)
Nature does not simply initiate an event; it carries the process forward on its own. Rain wets a surface before wind and sunlight dry it again, while waves erase marks and simultaneously leave new ones behind.
Cyanotype requires washing with water after exposure for the image to develop fully. Rather than controlling this process myself, I entrusted it to rain. The rain washed the cyanotype, completing the image while leaving traces of its own droplets and movement.
I brought this moment—of being washed away while still leaving a trace—into the everyday form of a table, keeping a moment shaped by nature close to human life.
(Walnut Wood, Raindrop, Cyanotype, Screw)
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”)
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”)
Human Reeds (2026)
This work began with watching reeds move in the wind and noticing how naturally their bodies respond to it. A reed does not resist the wind; it bends and shifts, giving the invisible movement of air a visible form. This led me to question how humans experience nature, and whether we often notice it only after filtering it through comfort, inconvenience, or control. By releasing tension, the human body may become more open and responsive, allowing the wind to move through and temporarily shape it. The work explores where the body ends and the surrounding world begins, and whether the self is something continuously formed through its encounter with the environment.
(TPU, sand, video, spray)
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)
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”)
Bound to Connect (2025)
This performance began from an interest in how the human body, nature, and artificial structures do not exist separately, but continuously hold, affect, and transform one another. A long piece of white fabric stretches between a tree and a constructed object, wrapping around the performer’s body. The fabric becomes both a connection and a restraint, both protection and boundary.
Positioned between the organic presence of the tree and the artificial structure, the body becomes a site where these two forces meet and are felt. Through this work, I wanted to visualize the human not as a detached observer of nature, but as a body constantly shaped by and responding to both natural and artificial environments.
(Performance)