A collage of
everyday things
Everyday scenes and the faintest of feelings.Gathered piece by piece into the language of painterly collage.
The everyday, layered —
a painting built from fragments
Sin Yeonjin is a painter who translates everyday scenes and subtle emotions into the language of painterly collage. She graduated from the Department of Painting at Hongik University and completed her graduate studies in painting at the same university.
Her practice gathers the ordinary — the textures, scenes, and quiet feelings of daily life — and layers them piece by piece across the surface of the canvas. In her hands collage is not a cut-and-paste of found material but a way of seeing: the day broken into fragments and reassembled into something that glimmers.
In 2025 she held the solo exhibitions 〈Kiptique〉 at Notting Hill Lounge (Gamil) and 〈A Collage of Everyday Things〉 in the Nanum Zone of Kangbuk Samsung Hospital. Earlier, she won the 2020 Young Artist Space Support open call and held a booth solo exhibition at United Gallery, and held her first solo exhibition at Kwanhoon Gallery in 2002.
She has taken part in numerous curated and group exhibitions — among them the Gangdong Young Artist Support open call 〈An Exhibition Where Everything Shines〉 (Gangdong Arts Center Art Rang, 2025), the special summer invitational 〈Put It in the Coffin〉 (Space Second View, 2025), the 18th Gwanghwamun International Art Festival Asian Contemporary Art Young Artists exhibition (Sejong Museum of Art, 2023), the 〈Kiptique〉 series, Form 2022 (CICA Museum), and ASYAAF (Hongik University Museum of Contemporary Art, 2022).
Major themes
- 1
Painterly collage
The everyday broken into fragments and layered piece by piece into a single glimmering surface — collage as a way of seeing rather than a technique.
- 2
Everyday scenes, subtle feeling
A delicate, warm attention to the ordinary — the quiet emotions of daily life held with care rather than dramatized.
- 3
The 〈Kiptique〉 series
An ongoing body of work — the everyday gathered, layered, and made to shine across exhibitions and editions.
The artist's timeline
- 2002First solo exhibition at Kwanhoon Gallery, Seoul.
- 2020Wins the Young Artist Space Support open call; holds a booth solo exhibition at United Gallery, Seoul.
- 2022Group exhibitions Form 2022 (CICA Museum, Gimpo) and ASYAAF (Hongik University Museum of Contemporary Art, Seoul).
- 202318th Gwanghwamun International Art Festival — Asian Contemporary Art Young Artists exhibition (Sejong Museum of Art); 〈Kiptique #0001·#0002〉 (Dada Project · Amidi Gallery, Seoul).
- 2024Group exhibition 〈Our Moment — 35 Landscapes〉, part of the Gangdong Young Artist program (Gangdong Arts Center Art Rang, Seoul).
- 2025Solo exhibitions 〈Kiptique〉 (Notting Hill Lounge, Gamil) and 〈A Collage of Everyday Things〉 (Nanum Zone, Kangbuk Samsung Hospital); group exhibitions 〈An Exhibition Where Everything Shines〉 (Gangdong Arts Center Art Rang) and 〈Put It in the Coffin〉 (Space Second View, Seoul).
Selected exhibitions & education
- Education: graduated from the Dept. of Painting, Hongik University, and completed graduate studies in painting at the same university.
- Solo exhibitions: 〈Kiptique〉 (Notting Hill Lounge, Gamil, 2025), 〈A Collage of Everyday Things〉 (Nanum Zone, Kangbuk Samsung Hospital, 2025), 〈Young Artist Space Support〉 booth solo (United Gallery, 2020), 1st solo exhibition (Kwanhoon Gallery, 2002).
- Group exhibitions: 〈An Exhibition Where Everything Shines〉 (Gangdong Arts Center Art Rang, 2025), 〈Put It in the Coffin〉 (Space Second View, 2025), the 18th Gwanghwamun International Art Festival Young Artists exhibition (Sejong Museum of Art, 2023), Form 2022 (CICA Museum), ASYAAF (Hongik University Museum of Contemporary Art, 2022), and many others.
- Ongoing 〈Kiptique〉 series, presented across exhibitions and editions.
Three essays —
on the everyday and its collage
1A way of seeing the everyday
The everyday is the easiest thing to overlook. A room, a window, a passing hour — most of life is made of scenes too ordinary to notice. Sin Yeonjin's work begins by refusing that habit of inattention. She treats the daily and the small as worthy of a painter's full regard.
What she gathers is not only what is seen but what is felt: the subtle emotion that attaches to an ordinary moment, faint enough to slip past words. Her canvases hold that feeling without enlarging it — a delicate, warm attention that keeps the everyday at its own quiet scale.
2Collage as a language
In her hands, collage is not a matter of cut paper and glue but a grammar of painting. The day arrives in fragments — glances, surfaces, half-remembered textures — and the canvas is where those fragments are layered until they cohere. To paint, here, is to assemble.
The fragments do not simply add up. Laid piece over piece, they begin to glimmer — the ordinary, reassembled, turning into something that holds light. It is in this layering that the work finds its form: a surface built from the small parts of a life, made to shine without losing the modesty of where it came from.
3The 〈Kiptique〉 series — the everyday that shines
The 〈Kiptique〉 series has run as a steady thread through her recent years — first as group presentations in 2023, then as a solo exhibition in 2025. It is less a single project than an ongoing practice, returned to again and again, each iteration adding to the same patient inquiry.
Alongside it, 〈A Collage of Everyday Things〉 names her method plainly. Shown in the Nanum Zone of Kangbuk Samsung Hospital, the work carried its quiet attention into a place where people pass through care and waiting — a fitting home for paintings made from the small parts of ordinary days.
Across these exhibitions, the same conviction holds: that the everyday, gathered with care and layered with patience, is worth keeping — and that a painting can make it shine.
From a first solo exhibition to the ongoing 〈Kiptique〉 series, Sin Yeonjin's work has pursued a single thing: to gather the fragments of an ordinary day and layer them into something that shines. She joins this campaign not as a subject of its cause but as a fellow artist in solidarity — so that those who keep such quiet attention might do their work without the weight of financial exclusion.
Selected Works
2 works are featured here.
Sin Yeonjin joined this campaign in solidarity with fellow artists. Every work sold flows directly into the artists' mutual-aid loan fund— a purchase becomes the next month's lifeline for an artist navigating financial exclusion today.
