Issue 7, Plus Connect

Rahee Yoon

Yoon's approach to acrylic is a graceful ballet between reverence and reinvention

Words SUBIN ANDERSON

Photography SOL KWON

Emerging as a multifaceted luminary, Seoul-based designer, and artist, Rahee Yoon artfully merges the roles of artisan, innovator, and collaborator. Her creative exploration thrives within the world of acrylic, where simplicity meets complexity and stillness births movement. The simplified yet profound designs echo the abundance of thought, each serving as an eloquent testament to the power of subtlety. With a masterful interplay of color and form, she magnifies shapes and imbues them with a vitality that brings them to life. Yoon’s creations illustrate manifestations of presence, existing harmoniously within their environment, inviting us to behold their physical and emotional resonance. Grounded in tradition yet propelled by modern exploration, Yoon’s approach to acrylic is a graceful ballet between reverence and reinvention. She ignites a spark within us, urging us to see the world anew, embrace the unknown, and dare to dream as we search for the sublime.

SUBIN ANDERSON: Over the years of working with acrylic as your key material, what made you challenge traditional views and enhance the uniqueness of your creations?

RAHEE YOON: Drawing from my diverse background in craft (metalwork, textiles, ceramics, and woodworking), I’ve developed a solid understanding of different materials and techniques, which enriches my craftsmanship. I’m all about pushing the boundaries within craft, especially when it comes to acrylics. Before setting up my studio, I freelanced as a designer, focusing on designing for commercial spaces, where acrylic emerged as my go-to medium. Acrylic designs had this unique ability to permeate through the ambiance of spaces. So, I delved into experimentation and stumbled upon hand-dyed acrylic in water, which sparked my exploration of the material and deepened my connection.

It’s been quite a journey, but recently, I’ve discovered a serendipitous alignment between what I seek to express and how my works visually come together. For instance, in the Block (2023) series, the external boundaries seem clear-cut, yet the inner boundaries remain highly ambiguous. There’s this quiet energy resonating within, even though everything appears still from the outside. Interestingly, these visual nuances aren’t planned at all; they simply unfold naturally. It’s these serene moments of serendipity, along with contrast and boundary, that truly define my creative process.

SA: That’s fascinating! So, how does materiality influence how you conceptualize and execute your works?

RY: Acrylic sheets, with less than a century of history, offer unique qualities that I aim to reinterpret through my designs, breaking free from conventional limitations. When I work with acrylic, it’s all about getting hands-on with it. I tune into the feelings it brings up, immersing myself completely in the process. Plus, I don’t see it as just the word, ‘acrylic’. I’m more into blending adjectives and verbs to capture their essence, like how it solidly clears, subtly deepens, simply overlaps, boldly spreads, and so much more. This perspective has led to fruitful collaborations with various production partners, allowing me to experiment with colors, textures, and endless variations. Sometimes, unexpected happy accidents lead to the most exciting breakthroughs.

SA: I love how you see acrylic as a creative tool rather than just a material. Speaking of collaboration, I heard finding local partners was tough at first. How did you come about collaborating with your current engineer, and how do you maintain synergy with them?

RY: I currently collaborate closely with around five key partners, each fulfilling vital roles in the production process. One of these partners is a manufacturing expert, with whom I’ve maintained a close relationship for nearly a decade. He oversees the intricate dyeing process of acrylic, ensuring quality and precision. I’ve also teamed up with another partner who’s excellent at producing thick acrylics. They offer invaluable support and guidance that’s pushing our partnership ahead. Unfortunately, I had to part ways with an engineer I used to work with due to health issues, but I found another partner who’s fully immersed in every step of the process. His innovative approach and dedication consistently exceed expectations, continuously exploring new methods and techniques. Despite the challenges, our shared goal remains achieving the best design outcomes, which drives us forward and leaves me with a sense of fulfillment and excitement for what’s next.

SA: I’d love to delve into the colors expressed in your designs, which create various textures and fragments.

RY: Colors, especially with acrylic, give me so much room to get creative. Personally, they’re like an extension of how I see visual imagery and develop my ideas, shaping my designs in profound ways.

Take my recent series, HALF (2024), for instance. It was inspired by this contemporary dance performance I saw called SAABA (2021) by Sharon Eyal. The visual impact created as the dancers clustered together struck a chord with me. So, I wanted to capture those tones and atmosphere in my work. I drew from the dancers’ attire, incorporating subtle hues into my designs to capture their essence.

Similarly, in Soft is Hard: Silver Edition (2022), where I exclusively employed silver tones, my aim was to convey shades of silver unattainable through hand-dyeing techniques. Rather than faithfully reproducing the color itself, I focused on capturing the texture of silver. This process involved refining my inspiration, highlighting how ideas are intricately intertwined through the interplay of colors.