Transparent self
Framed oil on linen board - 60 x 55cm
Jinyoung Yu is a Korean sculptor who works in reinforced plastic to make transparent female figures. She explores the disparity between the outward and inward self. While her work has delved into a wide range of perspectives, from long-suffering housewives to anxiety-ridden workers, Yu’s conceptual impetus is consistently clear: to acknowledge the anxiety of social situations, and to expose the implicit acts of cover-up one engages in as they adhere to social conventions.
With this concept in mind I created a ‘line-up’ of women, from different cultures and times. A story I used to tell clients when I was a therapist was called Just’a’Jar, a glass preserve jar that became so full she couldn’t see what was inside her. And as she sat on a pantry shelf her label had been replaced so many times she didn’t even know who she was anymore.
Framed oil on linen board - 60 x 55cm
Jinyoung Yu is a Korean sculptor who works in reinforced plastic to make transparent female figures. She explores the disparity between the outward and inward self. While her work has delved into a wide range of perspectives, from long-suffering housewives to anxiety-ridden workers, Yu’s conceptual impetus is consistently clear: to acknowledge the anxiety of social situations, and to expose the implicit acts of cover-up one engages in as they adhere to social conventions.
With this concept in mind I created a ‘line-up’ of women, from different cultures and times. A story I used to tell clients when I was a therapist was called Just’a’Jar, a glass preserve jar that became so full she couldn’t see what was inside her. And as she sat on a pantry shelf her label had been replaced so many times she didn’t even know who she was anymore.
Framed oil on linen board - 60 x 55cm
Jinyoung Yu is a Korean sculptor who works in reinforced plastic to make transparent female figures. She explores the disparity between the outward and inward self. While her work has delved into a wide range of perspectives, from long-suffering housewives to anxiety-ridden workers, Yu’s conceptual impetus is consistently clear: to acknowledge the anxiety of social situations, and to expose the implicit acts of cover-up one engages in as they adhere to social conventions.
With this concept in mind I created a ‘line-up’ of women, from different cultures and times. A story I used to tell clients when I was a therapist was called Just’a’Jar, a glass preserve jar that became so full she couldn’t see what was inside her. And as she sat on a pantry shelf her label had been replaced so many times she didn’t even know who she was anymore.