Miyeon Yi

B.1995, Seoul South Korea, currently lives and works in London

EDUCATION:

2021 — 2023 Master of Arts Painting, Royal College of Art, London

2019 —2020 Master of Fine Arts, Leroy E Hoffberger School of Painting, Maryland Institute College of Art, Baltimore

2015 Ox Bow School of Arts and Artists Residency, Michigan

2013 —2017 Bachelor of Fine Arts, School of the Art Institute of Chicago, Chicago

SCHOLARSHIP / AWARD:

2022 Batsford Art Prize- Runner up

2019 Merit Scholarship, Leroy E Hoffberger School of Painting

2015 Merit Scholarship, Ox Bow School of Arts and Artists Residency

2013 — 2017 Merit Scholarship, School of the Art Institute of Chicago

PUBLICATION:

2022 Create Magazine-Issue 32, Philadelphia, USA

EXHIBITIONS

2022 July 7- 29th Ojiri Projects, Her Home is in a Tea Ceremony Box, London, UK

2022 May 12-June 12th Era Gallery, Sunday that only had an afternoon Milan, Italy

2023 July 12-16th CAN Art fair, Ojiri Gallery, Ibiza, Spain

2023 April 14-16th Era Gallery, MIART-International Modern and Contemporary Art Fair in Milan, Milan, Italy

2023 Jan 5th-28th Pi Artworks London, Friends and Family Part II

2022 November 8-15th Bomb Factory Covent Garden Art on Post Card Winter Auction

2022 20-28th October Delphian Gallery Opencall Winner Exhibition, Unit 1 Gallery Workshop, London, UK 

2022 October 8-28th Angel with dirty faces Ojiri Gallery

2022 September 7-29th Omer Trioche Gallery Fragments

2022 August 1-6th, No Place Like Home, Fitzrovia Gallery, London, UK

Miyeon Yi is an artist currently living and studying in London. Her works often depicts groupings and isolations of figures within the framing of interior structure. If not squeezed into one object or space, these figures form a community by implementing common actions, such as playing card games or preparing for a family rituals. They show individuality as well as generality as a member of a group. She is attracted to the communication and recognition of coexistence within between the figures that are separated into different quality of spaces or the moments of the narrative. Figures are often in their own living space filling in the void of life with meaningless tasks while turning away from the weight of the drama, experiencing freedom as well as ennui. The animals in her works have similar presence to that of exiting and entering of actors of the Nō theatre, crossing the hashigakari (suspension) bridge.