Chubb Art Collection
Landscape with Houses (Dutchess County, NY) #9, 2011 framed digital chromogenic print mounted to Dibond paper: 44 x 55 1/2 inches (111.8 x 141 cm) framed: 47 x 58 1/4 x 2 1/4 inches (119.4 x 148 x 5.7 cm) edition of 5 with 2 APs (#4/5)
Associated with The Pictures Generation that emerged in the 1980s, James Casebere (b. 195, Lansing, Michigan) is known for his constructed photographs that explore aspects of private, public, and historical architectural space. For the past 30 years, he has created complex tabletop models of plaster, Styrofoam, and cardboard in his studio before carefully lighting and photographing his assemblages. Casebere’s subjects have included courtrooms and libraries, flooded interiors, and in this series, Landscape with Houses, American ideas of home, via a re-creation of an upstate New York subdivision.
James Casebere
Julian Charrière
Polygon-Чаrа́н, 2015 medium format black and white photograph, double exposure through thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons test site in Kazakhstan
48 3/8 x 56 1/4 inches (122.8 x 142.9 cm) each
48 3/8 x 172 5/8 inches (122.8 x 438.4 cm) overall edition of 3 with 1 AP (AP1)
Julian Charrière (b. 1987, Morges, Switzerland) is known for his research-based practice rooted in geology, biology, physics, history and archaeology. He frequently travels to some of the most remote regions of the planet to explore how human civilization and the natural landscape are inextricably linked. Drawing on ideas about ephemerality, the passage of time, and humankind’s attempts to dominate the environment, his oeuvre incorporates multiple techniques and media, including photography, sculpture, video, intervention and installation.
Charrière’s photographic series, “Polygon”, depicts former nuclear test sites. Using blackand-white analogue, medium-format film photography to capture the remaining vestiges of various sites, he records the legacy of the spaces and the birth of the atomic age. Before each photograph was developed, radioactive material was scattered on the negative, creating light spots showing the unseen forces which continually act on the landscape pictured. By exposing the film stock to radioactive material, Charrière destroys one mode of visual information while adding historical and conceptual material, resulting in a doubly synthetic topography. The artwork is a reminder that the energy of the past affects the present and will continue to shape the future.
Jose Dávila
Buildings You Must See Before You Die, 2008 set of fifty pigment prints each print: 10 x 7 1/2 inches (25.4 x 19.1 cm)
each frame: 11 7/16 x 14 x 1 1/2 inches (29.1 x 35.6 x 3.8 cm)
overall: 74 x 124 inches (188 x 315 cm) edition of 4 with 1 AP (AP)
For over a decade, Jose Dávila’s (b. 1974, Guadalajara, Mexico) practice has explored spatial occupation and the transitory nature of physical structures. Drawing on his formal training as an architect, Dávila creates sculptural installations and photographic works that simultaneously emulate, critique, and pay homage to 20th century avant-garde art and architecture. Referencing artists and architects from Luis Barragán and Mathias Goeritz to Donald Judd, Dávila’s work investigates how the modernist movement has been translated, appropriated, and reinvented.
Around 2008, Davila began to create cut-out photographs, such as "Buildings You Must See Before You Die". In this work, Dávila removed the central subject matter, the depictions of fifty architecturally renowned buildings. The resulting white silhouette simplifies the lines of the building while simultaneously amplifying the masterful designs that are recognized globally. In removing the building, the artist highlights the importance of context and surroundings in the field of architecture.
Jose Dávila
Homage to the Square, 2021
polished stainless steel and epoxy paint
70 7/8 x 70 7/8 x 70 7/8 inches (180 x 180 x 180 cm)
For over a decade, Jose Dávila’s (b. 1974, Guadalajara, Mexico) practice has explored spatial occupation and the transitory nature of physical structures. Drawing on his formal training as an architect, Dávila creates sculptural installations and photographic works that simultaneously emulate, critique, and pay homage to 20th century avant-garde art and architecture. Referencing artists and architects from Luis Barragán and Mathias Goeritz to Donald Judd, Dávila’s work investigates how the modernist movement has been translated, appropriated, and reinvented.
The series of mobiles entitled “Homage to the Square" refers to Joseph Albers series of the same name. Keeping the ratio of Albers’ two-dimensional square, Davila increases the scale and sculpturally translates the squares into steel, creating a three-dimensional spatial environment. Hanging from a single point of suspension, each square rotates as the surrounding air moves, creating an ever-changing perspective of the artwork. In this work, Dávila breaks up familiar visual structures and shows alternative ways of perception.
Jose Dávila
Homage to the Square, 2015 stainless steel frames, epoxy paint and wire 35 7/16 x 35 7/16 x 35 7/16 inches (90 x 90 x 90 cm)
Olafur Eliasson
City plan (isometric hexogonal), 2018
mirror glass, paint, stainless steel
35 7/16 x 35 13/16 x 1 3/8 inches
(90 x 91 x 3.5 cm)
Olafur Eliasson
City plan (isometric triangle), 2018
mirror glass, paint, stainless steel
35 7/16 x 35 13/16 x 1 3/8 inches
(90 x 91 x 3.5 cm)
Olafur Eliasson (b. 1967, Copenhagen, Denmark) is known for sculptured and large-scale installation art employing elemental materials such as light, water, and various phenomenon to enhance the viewer's experience.
In his ongoing "City plan" series, Eliasson creates square works with a reflective surface, overlaid by a geometric pattern that uses rotated isometric grids as their basis. Mapped out on the mirrored surface, the isometric grids – which are commonly used for preparatory and architectural drawings – become suggestive of a futuristic city plan, whereby the square grid is obsolete and the cityscape is seen in a complex, layered structure. As is often the case in Eliasson’s work, the device of a mirror is used, allowing the artwork to reciprocate the gaze of the viewer and place them within the context of the work.
Hospicio Cabañas Capilla Tolsá from Daniel Buren work in situ Guadalajara I 2015
C-print
paper: 70 7/8 x 87 7/8 inches (180 x 223.2 cm)
framed: 72 1/2 x 89 5/8 inches (184.2 x 227.6 cm)
edition of 6 with 3 APs (#5/6)
Candida Höfer (b. 1944, Eberswalde, Germany) is known for her meticulously composed, large-scale color images of architectural interiors, exploring the structure, presentation, and influence of space. Interested in the psychological impact of design and the contrast between a room’s intended and actual use, Höfer has focused her lens on cultural and institutional buildings such as libraries, hotels, museums, concert halls, and palaces. Devoid of human subjects, the images allow us to consider the role of their missing inhabitants. The large-scale nature of the work invites the viewer to linger over the architectural details and contemplate the subtle shifts in light that make up the character of the space.
Candida HöferDonna Huanca MAGMA SLIT #2 (FALL), 2021 oil, sand on digital print on canvas 90 9/16 x 129 15/16 inches (230 x 330 cm)
Donna Huanca’s (b. 1980, Chicago, IL) interdisciplinary practice has evolved across painting, sculpture, performance, choreography, video, and sound, to create a unique visual language based in collaboration and innovation. At the very heart of her oeuvre is an exploration of the human body and its relationship to space and identity. In the artist’s two-dimensional work, photographs of performers’ decorated bodies are enlarged and transposed to canvas, where they are re-worked with paint. Gesture is enlarged and amplified; the soundlessness of her performances resonating across her abstract compositions. During this process, Huanca engages with the colors and forms painted on her models, resulting in a genuine interaction between the ephemeral choreography of performance art and the permanence of painting.
One of Britain’s best known abstract painters, Callum Innes (b. 1962, Edinburgh, Scotland) works in the language of monochrome painting, rendering color fields within geometric grids or dividing his canvases bilaterally. For his ongoing series of “Exposed Paintings”, Innes engages in a process of addition and subtraction, layering pigments onto the canvas, then removing the oil paint with washes of turpentine. This method, which he describes as “unpainting,” leaves only traces of the paint’s former color so that black oil paint erodes to reveal a deep violet or turquoise, as in Exposed Caribbean Turquoise, 2022. The artist’s process is evidenced through trickles of seeping paint, rivulets, and dark edges. In 2022, the artist made a dramatic departure from the artist’s rectangular format to a circular Tondo format, inviting a range of new interpretations, both psychologically and formally.
Callum Innes
Exposed Caribbean Turquoise, 2022 oil on Birch Ply
39 3/8 inches (100 cm) diameter
Mit Jai Inn
NYL 6, 2022
oil on canvas
48 x 48 x 1 9/16 inches
(121.92 x 121.92 x 4 cm)
Mit Jai Inn's (b. 1960, Chiang Mai, Thailand) color-based, densely layered works defy conventional boundaries of painting, while variously enacting its multiple histories and treatments. Working all hours in his outdoor Chiang Mai studio, the artist encompasses the vibrating spectrum of sunlight and moonlight in his work. Mit’s practice is rooted in a rigorous physicality of both manual and optical labor, crushing and mixing colored pigment of his own making, then pulling and pushing, overlaying, and scraping the color using palette knives, hands, and fingers instead of brushes. While this corporeality of color is embedded and perceptible in Mit’s painted forms, it is also his way of actively channeling, resisting, or responding to particular aesthetics, as well as social and political histories. Mit addresses issues spanning divisions between so-called ‘Western’ and ‘Eastern’ canonical painting to shifting political states in Thailand.
Mit Jai Inn
NYL 8, 2022
oil on canvas
48 x 48 x 1 9/16 inches
(121.92 x 121.92 x 4 cm)
Suki Seokyeong Kang Mat Black Mat 122 x 163 #19-08, 2019 woven dyed Hwamunseok, thread, painted steel 65 3/8 x 48 13/16 inches (166 x 124 cm)
Suki Seokyeong Kang’s (b. 1977, Seoul, Korea) expanded painting practice is rooted in her research into classical Korean poetry, craft, and dance. This body of work references the historical Korean solo dance “Chunaengmu,” which was performed for royalty and adhered to strict codes of court etiquette. Kang employs dancers to “activate” the mats with carefully scripted movements, assigned by the artist. For Kang, freedom is inscribed within a set of cultural and political limitations. In the artist’s words, the black mat is, “the minimal space each individual in this society is provided with, upon which to stand and sustain one’s weight.”
Through these sculptural works, the artist explores how space can be divided into conceptual grids, systems of power, cultural customs, and artistic lineage. Kang physically embodies the weight and tangibility of these ideas through “hwamunseok”—traditional Korean mats handwoven with reeds. In this work, Kang meditates on embodied time and what remains of a life—the inherited yet unencountered past, salvaged or created, transposed across time and space. Kang’s assemblages suggest the warp and weft of perception—memories, experiences, figments, and inferences interlacing to make up what we “know.”
Idris Khan
Between the Curtain and the Glass, 2022 digital C-type print on aluminum print: 52 11/16 x 115 1/4 x 1 3/16 inches (133.8 x 292.8 x 3 cm) framed: 57 13/16 x 120 3/8 x 2 15/16 inches (146.8 x 305.8 x 7.5 cm) edition of 7 with 2 APs (#2/7)
Idris Khan (b. 1978, United Kingdom) has received international acclaim for his minimal, yet emotionally charged photographs, videos, and sculptures. Drawing on diverse cultural sources including literature, history, art, music, and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to themes of history, cumulative experience, and the metaphysical collapse of time into single moments. Though Khan’s mindset is more painterly than photographic, he often employs the tools of photomechanical reproduction to create his work. Photographing or scanning from secondary source material–sheet music, pages from the Qur’an, reproductions of late Caravaggio paintings–he then builds up the layers of scans digitally, allowing him to meticulously control minute variances in contrast, brightness, and opacity. The resultant images are often large-scale C-prints with surfaces that have a remarkable optical intensity.
Gabriel de la Mora
1,155 I Pa.Ulz., from the series Lepidóptera, 2022
Papilio ulysses butterfly wings on museum cardboard
image: 11 13/16 x 11 13/16 x 13/16 inches (30 x 30 x 2 cm)
framed: 13 13/16 x 13 13/16 x 2 3/8 inches (35.1 x 35.1 x 6 cm)
Gabriel de la Mora’s (b. 1968, Mexico City, Mexico) practice focuses on the construction of seemingly minimal yet extremely complex surfaces that are underlined by intense mathematical precision. A collector of objects and fascinated by science, the artist creates geometric compositions with elements that contain genetic material—feathers, eggshells, or butterfly wings, as seen in these three works. In this series, titled Lepidóptera, De la Mora sourced the material from butterfly conservation farms across the world. The numbers indicated in the title of each work recall the number of fragments used, while initials denote the species used.
These meticulous collages bring attention to the inherent, fleeting beauty of the insect, while also mining the rich cultural symbolism of the butterfly throughout history. In Aztec and Mesoamerican iconography, in particular the Mexica of Tenochtitlan, butterflies were considered as the fleeting souls of deceased warriors. The "Lepidóptera" works address ideas of entropy, as well as perceived and attributed worth and utility.
Gabriel de la Mora
2,030 I - Pa.Pa., from the series
Lepidóptera, 2022
Papilio paris butterfly wings
mosaic on museum cardboard
image: 11 13/16 x 11 13/16 x
13/16 inches (30 x 30 x 2 cm)
framed: 13 13/16 x 13 13/16 x 2
3/8 inches (35.1 x 35.1 x 6 cm)
Gabriel de la Mora
1,800 I - Hi.Od.Or. from the series
Lepidóptera, 2022
Historis odius orion butterfly wings on museum cardboard
image: 11 13/16 x 11 13/16 x 13/16 inches (30 x 30 x 2 cm)
framed: 13 13/16 x 13 13/16 x 2
3/8 inches (35.1 x 35.1 x 6 cm)
Mariko Mori (b. 1967, Tokyo, Japan) is an internationally acclaimed artist whose practice explores universal questions at the intersection of life, death, reality, and technology. Her thirty-year career has been defined by her own unique, futuristic aesthetic.
In the inchoate, formative moment just after the Big Bang, the universe was all one “plasma state,” which eventually formed atoms and all matter in the universe. For Mori, this state is physical evidence that all were one in the beginning. The artist’s sculpture, "Plasma Stone II", created using a special acrylic medium, references this primordial state which begat the universe. Appearing transparent at first, the stones act as ethereal portals. When passing in front of the work, visitors see their own reflection and realize that they are also part of the work. Enveloping the viewer into the sculpture's own microcosmic environment, the stones simultaneously act as a prism, dispersing the full spectrum of visible light, as a memory of the beginning of the universe.
Dichroic coated layered acrylic in 2 parts, Corian base 50 x 23 1/2 x 18 inches (127 x 59.7 x 45.7 cm) each edition of 5 with 2 APs (#1/5)
Mariko Mori
Plasma Stone II, 2017-2018
62
(158.8
Sam Moyer (b. 1983, Chicago, IL) has developed a distinctive language of abstraction and a body of work that draws inspiration from architectural space and natural materials. Her practice has evolved from its more conceptual and process-based origins to address formal and theoretical issues regarding the construct of painting. Examining traditional roles of painting and sculpture, Moyer reframes the painted surface as a sculptural field in which fragments of previously used stone are paired with hand-painted canvas to create dynamic compositions. She manipulates these found textures and materials into powerful and evocative abstract works that evince beauty, humor, balance, and chance, employing the hand-made and readymade. Moyer’s compelling hybrids of canvas and stone are weighted with a commanding presence crafted by a most deliberate hand.
Sam Moyer
Mulberry Ghost, 2022
stone, acrylic on plaster-coated canvas mounted to MDF
1/2 x 49 x 1 inches
x 124.5 x 2.5 cm)
Natasza Niedziólka
Zero1500A-NY, 2023 cotton, vintage silk thread, colored pencil on linen painting: 70 7/8 x 96 1/2 x 1 inches (180 x 245.1 x 2.5 cm) framed: 72 1/8 x 97 3/4 x 2 1/2 inches (183.2 x 248.3 x 6.3 cm)
Natasza Niedziolka’s (b. 1978, Międzyrzecz, Poland) fascinating works move along the interface between painting, drawing, and textile art. She embroiders large-scale abstract patterns on canvas with varying colors and shapes. By making use of the material in a repetitive manner, the artist brings a lightness and a meditative gesture to her formally rigorous and sensual works. Stitching functions as an event-like process, and the textile quality of the finished product is also understood not as an object, but as an event that is reactivated for the beholder time and again.
Angelina Pwerle
Bush Plum Dreaming, 2002
synthetic polymer paint on linen
painting: 46 7/16 x 70 7/8 inches (118 x 180 cm)
frame: 47 3/8 x 71 13/16 x 2 1/2 inches (120.3 x 182.4 x 6.3 cm)
Angelina Pwerle’s (b. 1946, Utopia Homestead, Australia) meticulously executed, beautifully detailed paintings are predominantly concerned with the Dreamtime (or Dreaming), an Aboriginal Australian term used to describe the period before living memory when Spirits emerged from beneath the earth and from the sky to create the land forms and all living things. The Dreaming answers questions about our origins and provides a harmonious framework for all living things in the universe, including the Bush Plum, a native shrub found throughout Northern and Central Australia. Because of its significance as a food source, the Bush Plum is a totem for many Aboriginal people. In Pwerle’s paintings, it is depicted as a field of minute dots or particles created with the fine point of a bamboo stick. The miasma of dots creates depth that evokes topographical or cosmological imagery and the meticulous execution of the painting becomes a performative and meditative process. By depicting this story of creation in her paintings, Pwerle ensures that the stories of the past perpetuate into the future.
Warlimpirrnga Tjapaltjarri
Untitled, 2008 synthetic polymer paint on linen painting: 48 3/16 x 48 3/16 inches (122.4 x 122.4 cm)
frame: 48 13/16 x 48 13/16 x 2 3/8 inches (124 x 124 x 6 cm)
Warlimpirrnga Tjapaltjarri (born c. 1958, Western Australia) is a contemporary Australian painter, known for his abstract works based upon his aboriginal heritage, images of sacred stories and songs from his family's “Dreaming”. His paintings depict undulating landscapes appearing to oscillate and move with visual energy. The artist generates this effect by painting patterned backgrounds on which he meticulously adds tight, meandering lines composed of thousands of dots. These lines and switchbacks correspond to mythical stories of the Pintupi people, spirit beings who are believed to have created all living things, and the formation of the desert in which they live, operating more as mnemonic devices than representations of narrative or visual memory. Tjapaltjarri's primary work uses colors typical of the natural ochres found in his homeland; white, dark red, grey, and occasionally black. The designs featured in his paintings display resembling the effects of wind on the desert sand hills and provide an optical effect.
Landscape in the rainy Spring #1, 2022 acrylic, acrylic medium, charcoal, gold leaf and oil on canvas and silk
painting: 37 13/16 x 27 9/16 inches (96 x 70 cm)
framed: 39 3/8 x 29 1/8 inches (100 x 74 cm)
Landscape in the rainy Spring #2, 2022 acrylic, acrylic medium, charcoal, gold leaf and oil on canvas and silk
painting: 37 13/16 x 27 9/16 inches (96 x 70 cm)
framed: 39 3/8 x 29 1/8 inches (100 x 74 cm)
Ha Manh Thang’s (b. 1980, Thai Nguyen province, Vietnam) work is a poetic meditation on the passage of time, memory, and place. His paintings speak to viewers about mindfulness and the vicissitudes of life. His earlier works were bold depictions of Vietnam’s culture, but recently he has shifted his focus to an abstract style to embody ideas of nature from old Vietnamese poetry and literature, the observation of changes in scenery, and color in the landscape and the mindscape. In the artist’s own words, his paintings are ‘attempts to better understand oneself in relation to nature and to express what one cannot grasp’.
Ha Manh Thang
Ha Manh Thang
Janaina Tschäpe
sand drawing (fluchtige zeichmurgen), 2023 oil, oil stick and oil pastel on canvas 70 x 92 inches (177.8 x 233.7 cm)
Janaina Tschäpe’s (b. 1973, Munich, Germany) intricately layered abstract landscapes feature imagery evocative of the natural world, suggesting growth, transition, and metamorphosis. Created entirely with oil paint and oil stick, these paintings expand the artist’s investigation of the relationship between gesture and painting. Tschäpe’s dynamic yet, carefully nuanced canvases evoke associations with nature that at times suggest both sea and land, as her atmospheric images shift subtly between representation and abstraction.
Tschäpe’s paintings are extremely physical compositions, reflecting the dynamic range of motion and intensity of focus the artist brings to their making. At the same time, these are contemplative and suggestive compositions that translate Tschäpe’s observations and memories of natural phenomena, such as changes in light, the movement of leaves, the rushing of water and movement of the wind, into a language of abstraction that is at once lively and serene; deeply personal, yet open to interpretation.
Kay WalkingStick
The Canyon, Late Day, 2020 oil on paper
paper: 24 x 48 inches (61 x 121.9 cm)
framed: 36 7/8 x 59 7/8 x 1 1/2 inches (93.7 x 152.1 x 3.8 cm)
Kay WalkingStick
Nez Perce Crossing, Variation, 2008 oil stick on paper
paper: 25 x 50 inches (63.5 x 127 cm)
framed: 36 7/8 x 61 7/8 x 1 1/2 inches (93.7 x 157.2 x 3.8 cm)
Over a career spanning six decades, Kay WalkingStick’s (b. 1935, Syracuse, NY) practice has focused on the American Landscape and its metaphorical significances to Native Americans and people across the world. Her paintings represent a knowledge of the earth and its sacred quality. A citizen of the Cherokee Nation of Oklahoma, WalkingStick draws on formal modernist painterly traditions as well as the Native American experience to create works that connect the immediacy of the physical world with the spiritual. Attempting to unify the present with history, her complex works hold tension between representational and abstract imagery.
Rebecca Ward
spine, 2022
acrylic and dye on stitched canvas
60 x 80 x 1 1/2 inches (152.4 x 203.2 x 3.8 cm)
Rebecca Ward (b. 1984, Waco, TX) investigates painting’s multifaceted relationships with object, craft, and dimensionality, primarily through deconstructed and sewn canvases. Emphasizing materiality and process, a distinct visual language and formal ambiguity permeates the artist’s works. Ward incorporates curving and organic forms alongside hard-edged shapes. She converges cut planes of painted and dyed canvas at machinesewn seams that both physically combine and divide the compositions. Foreground and background are accentuated by lighter washes or raw canvas contrasting with saturated tones. Ward also unravels sections of the canvas by removing horizontal threads and leaving the vertical threaded framework exposed. By revealing and obscuring the underlying stretcher bars, Ward emphasizes the multiple dimensions of painting beyond the surface and highlights the structural elements that make it possible.
Wu Chi-Tsung
Cyano-Collage 180, 2023
cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminum board in three parts
each panel: 59 1/16 x 118 1/8 inches (150 x 300 cm)
overall: 59 1/16 x 354 5/16 inches (150 x 900 cm)
Throughout his oeuvre, Wu Chi-Tsung (b. 1981, Taipei, Taiwan) connects the art of Eastern and Western cultures to integrate traditional aesthetics within a striking contemporary language. In his "Cyano-Collage" series, the artist simultaneously references and subverts traditional Chinese “shan shui” paintings or “mountain-water-pictures” by replacing traditional ink and brush methods with experimental photography. To create these stunning images, Wu prepares layers of cyanotype photographic papers—Xuan paper treated with a photosensitive coating—that are crumpled, exposed to sunlight, developed, and then mounted onto metal. The resultant works are collages that allude to and reimagine landscapes found in these traditional Chinese shan shui paintings, produced using a unique contemporary process.
Sun Xun
Time Spy 14, 2016
woodcut painting panel: 36 x 24 inches (91.5 x 61 cm)
framed: 45 5/8 x 33 5/8 x 5 7/8 inches (115.9 x 85.4 x 14.9 cm)
Sun Xun
Time Spy 18, 2016
woodcut painting panel: 36 x 24 inches (91.5 x 61 cm)
framed: 45 3/4 x 33 5/8 x 5 7/8 inches (116.2 x 85.4 x 14.9 cm)
Sun Xun’s (b. 1980, Fuxin, China) artistic practice combines meticulous craftsmanship with stylistic experimentation not limited to any one medium. Blurring the lines between drawing, painting, animation, and installation, his work incorporates a wide array of materials. Painting, woodcuts, traditional Chinese ink, and charcoal drawings are often combined to create the foundation of expressionistic, stop-motion animated films. These films are then presented in immersive settings, creating a theatre of memory for the visitor, filled with realistic and fantastical iconography.
Jongsuk Yoon
Mai, 2022
oil on canvas
80 11/16 x 167 5/16 inches (205 x 425 cm)
Jongsuk Yoon’s (b. 1965, Onyang, South Korea) paintings feature translucent shapes, colors, and lines that expand into poignant abstractions evocative of nature, which the artist describes as 'mind landscapes' or 'mindscapes'. Yoon creates large-scale drawings and paintings that integrate elements of Korean folk art and traditional ink painting with western oil painting. Inspired by the landscapes of her hometown and country, the abstracted scenes in Yoon's paintings regularly feature triangular, mountainous shapes, orbs, and amorphous forms reminiscent of clouds. Yoon works on several canvases at once, moving between different parts of the paintings. Yoon employs bold gestures across the surface, and modifies, dilutes, or completely covers previous layers of color in the process.
