​

Defenseless; Unable to Protect Oneself

2024.3.22 – 5.11

​

BYFOUNDRY presents Defenseless; Unable to Protect Oneself, the solo exhibition of Yeonghye In from March 22 to May 11, 2024. After studying Textile Art Design, the artist has expanded her practice into a diverse array of textile works, spanning from sewing drawings to art furniture and objects. She captures the multifaceted nature of the inner self and explores the complexities of human relationships. Employing her unique hand-knitting techniques, the artist conveys a positive and comforting message through her distinctive works. In this exhibition, the artist aims to occupy the entire exhibition space with her installation works, providing the audience with opportunities for physical interactions with the works and emotional transformation through various sensory experiences.

The artist selects flexible yet sturdy fabrics capable of withstanding weight and strength to create furniture such as chairs, stools, and sofas. While formatively beautiful as standalone objects, her artworks truly come to life when someone sits upon them, embodying the essence of the
artist herself. The rough and uneven forms comprising the chairs reflect her self-portrait as well
as a myriad of facial expressions of all people, ranging from playful to frowny. It may seem self- deprecating to project her own image onto chairs where others sit. However, it serves as a symbol of resistance against a society that restrains and suppresses one’s identity, as well as a self-sacrificial and altruistic message from the artist who still wishes for the well-being of others. In this exhibition, the artist maintains her unique visual language by adhering to the hands-on weaving process and utilizing rough-hewn units, while expanding the scope and subject of her work to encompass the entire exhibition space. Departing from the confines of functional structure and material concepts, the artist attains freedom of expression, aiming to engage with the audience more actively and to collide and interact with them through her work.

The central theme of this exhibition lies in personal and innermost comfort attained through tactile experiences. It does not mean a one-sided consolation offered by the artist, but rather an opportunity for healing and recovery for both the artist during the production process and the audience when they experience the works.

She selects fabric as her key material, making a connection between her creations and her body by handcrafting with minimal tools. Through the labor-intensive process, the artist identifies her artworks with herself by infusing her personal narratives and emotions. The journey of production, modification, and refinement using her entire body serves as a time for self-healing and resilience, allowing her to address societal wounds and recover her suppressed identity. The products of this repetitive labor give the audience a chance for deeper communication and emotional healing within the unique context of the exhibition space. In particular, the artist displays installation artwork that dominates the whole space of the gallery with ivory-colored, soft, and thick velvet. This invites
the audience to participate more actively by touching it with their hands, bumping into it with their shoulders, hugging it with their arms, and leaning against it with their backs.

Another overarching theme is the intricate dynamics of human relationships and the positive attitudes of individuals. The hanging artworks, arranged irregularly in different shapes and heights
on the ceiling, are strategically positioned to make physical contact with the viewer’s face or
body unless consciously avoided. This setup implies that we inevitably live within interwoven relationships all the time, and therefore, human networks in modern society are more complex. When the audience pushes the ceiling-mounted artworks, the equal force is exerted back onto them. According to Newton’s third law, the greater the applied force, the stronger the reaction force. The law of motion seems to explain the instinctive behavior of humans to retaliate when they are harmed or hurt by others. However, the artist’s ultimate message leans towards the idea of embracement. Crafted from soft velvet with filler, the artworks absorb the applied force when they are pressed
or swayed on wires by the audience. Although they appear to be affected momentarily, they soon recover stability and gently touch the subject that exerted the force. This is in line with her altruistic attitude for the well-being of others, a recurring theme in her previous works including furniture, objects, and sewing drawings. Thus, her works reflect the artist herself who overcomes personal wounds by embracing people with compassion and turns anger into understanding and acceptance, rather than seeking retaliation for pain or sadness.

The title of this exhibition “Defenseless; Unable to Protect Oneself” is ultimately an ironic expression. The artist is not incapable of self-protection; rather, she consciously decides not
to engage in active defense or retaliation against external forces. Therefore, the artist opts
for minimal defense or reaction with the use of velvet, a soft and warm medium. Starting from rough-hewn chunks, the artworks spread across walls, ceilings, and floors in variously clustered forms, anticipating close engagement and mingling from the audience, hoping for even stronger connections to be forged. Through this process, the artist wishes for the audience to find their own personal solace and tranquility.

​