2002 Lillian Elliott Award Recipient
Recent Work – 2016
“Figurative forms constructed in parametric linear structures that contain space within reside in the existential field where the self and the world, body and mind, to be and not to be intersect each other. Punctuated body is a metaphorical outcome of such simultaneity leaving breaks and holes inside. It represents ‘to be and not to be’ by projecting the imperfection of body fragmented, collapsed, and deconstructed as a part of this irreversible world. The broader the break gets, the higher the probability of self absence is. Being as a hole means living in the fourth dimension. Holes are reproduced by bodily experienced pain under such condition as well as the indeterminate world. A hole can be a base of formation, but its presence evokes the feeling of obscurity. A hole is an imploded crack due to the collision of meaning, truth or value. How could I look into the hole without sinking in? Contemplating on void that is nothing and everything at the same time is a practice for emptying out ‘I, here and now’, for returning to anonymity, and for becoming considerate. Life is punctuating holes on breathing in such ways.”
Recent Work – 2014
States Soonran, “According to Buddhism, there are 108 agonies, which one must undergo throughout three lives: past, present, and next life.”
Recent Work – 2010
“I adapt crochet to obtain a see-through skin that deals with inside/outside relationships,” explains Soonran. “Crocheting wire made this possible and allows a look through the skin giving the impression of the fragility of being. I want it to be a vehicle for viewers to initiate little conversations with themselves, not to be one of my speeches thrown in their faces.”
Work Submitted for the 2002 Lillian Elliott Award
“This work implies the isolation of bodily individuality, which can never be broached but held in solitude until the end. The figure represents a contradiction between dreams and realities. The head facing upwards yearning for the torso to grow like a tree to touch the sky, the dream world; but the gravity of the reality is pulling the whole body downwards against the longing. Therefore, the figure is distorted and elongated.”
Breathing Holes (group of 5 heads), 2015
Dimensions vary – approx. 28 1/2″ x 12″ x 8 1/2″
Stainless steel wire, enamel paint.
Detail – Breathing Holes. 
108 Agony, 2013
The life-size blue figure on the left, constructed of telephone wires and cable ties, appears to observe the row of 108 small figures mounted on the wall. Each small figure is 14″ (H).
Detail – 108 Agony, (above) left to right: ‘belief, parenthood, loss, concentration, passion, commitment, illness, domination, stress, happiness, inheritance, neglet, youth, regret, longing, and sympathy’. 
Daydream, 2009
24” x 43” x 11”
Enamel copper wire, polyethylene, acrylic paint.
Detail – Daydream. 
Island No. 3, 2000
82” x 9 1/2” x 27”
Linen thread.
Soonran Youn, Island No. 3. 
Soonran Youn, Detail – Island No. 3.
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