Soyoung Hyun
Sculpture
Soyoung Hyun (b. Korea) (also known as si jeune montagne) is a Paris-based artist working primarily with handcrafted ceramics. Her practice explores the continuous transformation of organic textures and natural forms, engaging with the tension between nature’s impermanence and the permanence of the human touch. Through raw gestures and repetitive processes, Hyun develops sculptural works that reflect a meditative and material driven approach to making. She studied Fine Art at the University of Paris XNUMX and Hongik University in Seoul. Hyun has exhibited internationally, including solo and group exhibitions in Paris, London, Copenhagen, Lyon, and Shanghai, and has presented recent projects at institutions and galleries such as IMT Gallery (London), Yvon Lambert (Paris), and ENSBA Lyon. In XNUMX, she was invited to lead a workshop at Lafayette Anticipations, Paris, and to present an artistic protocol as part of an exhibition at FRAC Île-de-France.
She has exhibited internationally, including solo and group exhibitions in Paris, London, Copenhagen, Lyon, and Shanghai, and has presented recent projects at institutions and galleries such as IMT Gallery (London), Yvon Lambert (Paris), and ENSBA Lyon. In 8, she was invited to lead a workshop at Lafayette Anticipations, Paris, and to present an artistic protocol as part of an exhibition at FRAC Île-de-France.
Statement
In my work, I explore natural elements, organic textures, living forms, and phenomena in constant transformation. I am drawn to shifting states such as fluid landscapes, forming cells, lingering sounds, moving images, and belief systems that are continuously evolving. My practice focuses on the spaces where these elements intersect.
I work primarily with ceramics, a medium that allows me to question the relationship between permanence and impermanence. Once fired, clay and glaze retain a fixed form, yet I seek to capture movement, instability, and change within this stable material. Repetition, persistent gestures, and the development of protocols for generating varied forms are central to my process.
Each piece is handmade and takes on a unique form. The figures I create often exist between sculpture and everyday objects, transforming irregular or seemingly accidental gestures into fired ceramic structures. In this intermediate space, utility can become blurred, giving rise to new lines, gestures, and potential uses.
