"I am thrilled every time I venture into visualizing any metaphysical concepts with a few shapes, lines, and colors."

Artist Shyun Song creates conceptual paintings that explore life and human experiences. She uses geometry and colors to convey elements of psychology in her works. Originally aspiring to write and illustrate profound stories like ‘The Little Prince,’ she shifted her focus to painting after having a deep connection to art while drawing live models in 2000. Over the years, her practice evolved from painting human subjects to semi-abstract naturescapes, and later to symbolic compositions. Shyun works in her minimalistic New York studio while listening to her favorite British comedy podcast. When not making art, she enjoys binge-watching European television series, reading books, and staying updated on daily world news.

In this interview, Shyun reflects on her philospical approach to painting, the inspirations behind her work, and her evolution as an artist.

Tell us about yourself.

I am a seeker of meaning. Whatever I do, I need to convince myself why I do it. Then I can be ready to focus on how I would do it right. These steps, of course, apply to my home life—marriage, children, grandchildren, and the extended family members. I believe that the whole environment in which I am, here and now, is where I am supposed to find the overarching meaning of my life.

What drives your creative vision?

As far as I can remember, I used to observe things first in terms of their colors and shapes. I have naturally grown very keen on the appreciation of beauty. At the same time, I have found it painful to see ugly versions of things around me. This intolerance, however, found a positive outlet when I resumed pursuing my art. Now, as an artist, I am an agent who presents slices of life in their deserved beauty.

Do you have any studio rituals that help you get into a creative flow?

My studio rituals are very much methodical in nature. I usually begin with the immediate execution of pre-planned segments, which are sequential parts of the whole work process. I stop for the day when there is no accessible dry area left to work on the canvas.

How do you structure your day?

I prefer to lead a consistently routine life. Morning hours are allocated to conceptualizing or designing artworks, and afternoons to executing the designs on canvas. Some evenings, I work on writing brief descriptions for my artworks to clarify the visual presentation.

Where do you find inspiration for your art?

I actually find inspiration for my art from anywhere—from nature, stories, news, lectures, photos, or even from casual conversations. I think that I can readily glean intriguing or challenging concepts from them, which I like to capture in simple yet layered terms because I am always intently in tune with my surroundings and have a tendency to associate them with my stream of thought.

Tell us about your evolution as an artist.

I started my art with figure paintings. While painting a live model on canvas, I enjoyed creating a believable background that suited the mood of the model.

After two years of figurative works, my sole focus became the background of human existence. From 2003 through 2010, I painted a wide variety of landforms, bodies of water, and the sky, which I collectively called naturescapes.

In 2010, at a point when I painted nothing except a long horizon on the canvas, I came to realize that it was the end of my naturescape phase, and the only direction I could go was into the inner space. My minimal, geometric, abstract style was then formed, and now I am thrilled every time I venture into visualizing any metaphysical concepts with a few shapes, lines, and colors.

How do you decide when an artwork is finished?

I have captured the essence of what I want to show; it is effective as well as aesthetic.

What is the most interesting observation someone has made about your work?

Many say that they sense some spiritual undertone in my works.

Is there an artwork from another artist that has had a significant impact on you?

All the artworks and artists in history indicate to me the inherent freedom of an artist. I owe them all my artistic freedom, and I simply follow my inner voice for creating art.

What’s your favorite museum?

The Metropolitan Museum of Art in New York is where I can comprehensively appreciate both classic and modern art.

Is there anything else you’d like to share to help viewers better understand your work?

An artwork reveals who we are when we create it. I firmly believe that if I had pursued art starting from my college years, my overall approach would have been very different from the current one.

I resumed art in the later years of my life at The Art Students League of New York in 2000. It was an ideal place for me where I could grow in my own way. I studied with the late William Scharf, who respectfully validated my philosophical approach, methodical process, and daring output.