Alright – so today we’ve got the honor of introducing you to Young Shin. We think you’ll enjoy our conversation, we’ve shared it below.

Young, thanks for joining us, excited to have you contributing your stories and insights. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

My artistic journey began when I started as a fashion designer in NYC, and my path ultimately led me back home to Los Angeles where I currently work as a visual artist. Learning the craft as a fashion designer and patternmaker built the solid foundation for my career as a collage artist in terms of both unique and creative perspectives as well as the technical skillsets that would not have existed in me had I not worked in the fashion industry. For example, making garments from scratch begins with general shapes and mood of the garment, which is exactly what I do when I begin my collages – imagining, determining the story and the mood of the piece, and sketching. The second step in garment construction is draping muslin on a dress form, from the general contour building to specifics; upon which transferring the marks on the muslin onto ultimately making a technical pattern on paper from which sewing the sample of the garment results. Similarly, in making my collages, I begin with general contours and shapes; build up the layers of paper; and delayer the marked areas and mold them into certain shapes, forms, and texture. I even continue to utilize and implement several garment construction tools such as transfer paper, marker, chalks, etc. in creating my collages. I believe that it is precision, the rigorous discipline, and attention to minute details that became part of me through my work in fashion that helped my natural transition into visual art practice which is now defined by the blend of craftsmanship, creativity, and style.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I make unique collage art, ordinarily on large canvases. They are heavily textured and texturized with layers and debris of paper often accompanied by large geometric free flowing shapes. Sometimes the surfaces are stripped, leaving marks, and sometimes they are left soft and serene. Some are colorful, some are neutral and muted. But what they all have in common is my intention for creating them: to allude to the fleeting nature of time, ethereality, and ephemerality of life, and thus, the desire to capture and appreciate every moment for what it is and as it is. How I capture this very essence is through the process of making the art itself. The process entails applying a copious amount and layers of paper, waiting for them to dry only to peel them off the surface, revealing and unearthing something entirely different from the original structure and shapes – very much akin to the nature of our existence and lives. My hope for every piece I create is for the viewers to resonate with this intention and find the commonality in humanity. Unlike the spoken words or written words, visual iteration is a kind of indirect insight, hunch, lurking feeling, a quiet whisper that gets emotionally absorbed and imbibed. As such, through my art, I gently speak of the universal destiny and the essence of human experience that we all share. This is what I am most proud of about my career. The fact that my art and its subtle narratives can resonate deeply with those who encounter it makes my profession all the more gratifying.

As for what makes my craft unique is that all pieces are made with color paper with glue, nothing more other than the canvases or wood panels on which the materials are glued onto. Nowadays, my works can be seen in an array of public and private spaces, including residences as private collection, and public spaces such as hotels, resorts, condominiums, and other communal areas. The materials, simply paper and glue, became the foundation of my art, creating a tactile and visceral connection between my work and audience. The texture is rich and multi-dimensional, inviting viewers to see and to feel the physical and emotional depth of the pieces. What sets my work apart is the infusion of profound emotions, a sense of nostalgia and sentimentality, and calm and serenity. In today’s world where digital images are becoming prevalent in the arts, my collages’ appeal and allure in tactility, tranquility, and a sense of calm introspection provide a space of sanctuary for my collectors and viewers. Lastly, my background in fashion combined with the simplicity in the materials utilized, my emotive work continues to fluidly navigate between traditional art, craft, and design while reminding the viewers that art is truly a multisensory experience.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

In my senior year in college, as I was contemplating going forward with an MFA program in oil painting, one of my well-meaning art professors warned about the extremely narrow road ahead of me; and that how nearly impossible it was for most artists to make a decent living as full-time artists. Despite her good intention to be helpful as I was contemplating my future, I was petrified and jumped into a premature conclusion that to work and make a living as an artist was indeed for only a selected privileged few with insurmountable and incontestable talents. It would take me years to overcome this fear, and I had to unlearn this deeply rooted myth and limiting belief about being a professional artist.

In retrospect, the subtext that made me immobile on embarking on the artistic journey was not only the fear of economic stability, but also the belief that unequivocal external validation was integral in building a career as an artist. Believing that artists are constantly judged and criticized for what they create; and that such destiny was unavoidable was debilitating. Unlike in most professions in which recognition and promotions are tangible markers of success, in the realm of visual art, judgement about an artist’s work is often very subjective, differing widely from individual to individual in most cases. Therefore, in the years to come, I would have to learn that public recognition cannot be the backbone of my career. In other words, I had to learn to constantly gage and reinforce my practice from my own interiority by expressing my emotions and uniqueness and staying authentic to my artistic vision regardless of external opinions. This was a transformative lesson that ultimately paved the way for my growth as a visual artist by making works that are personally meaningful, allowing me to be brave in taking risks and making deep connections along the way.

Any resources you can share with us that might be helpful to other creatives?

I wish I had known about the extensive range of opportunities for artists that are widely available. In the past, I came to believe that an artist’s success depended on predominantly narrow set of opportunities conferred by exclusive external forces such as galleries, critics, or institutions – to my own detriment, limiting my own growth and stifling me from available opportunities. It is true that the art world can be extremely exclusive and competitive, leaving many talented individuals feeling discouraged; and because of this, it’s easy to internalize rejections and self-doubt one’s unique abilities and talents. However, in today’s digital age, artists have abundant opportunities that might not have been readily available in the past to help forging their careers such as online galleries and a considerable number of resources online. These digital spaces provide artists with opportunities to collaborate and showcase their works globally to limitless and diverse collectors. For instance, at the onset of my career, two of my very first collectors came to purchase my pieces from Tokyo and Texas during the same week. Online exposure is particularly pivotal in an artist’s career development by enhancing much needed visibility and making meaningful connections with collectors and garnering their support worldwide. Another avenue I wish I had known earlier in my career is working directly with interior designers and public art placement galleries/agencies. Collaborating and partnering with them, I find that there has been a steady stream of commissions; not to mention the reach to a niche clientele.

Contact Info:

• Website: https://youngshinart.com/
• Instagram: https://www.instagram.com/youngshinart/