Born in Korea in 1976 and currently living in Richmond Virginia, Bohyun Yoon is an assistant professor at Virginia Commonwealth University. Yoon is interested in the invisible properties of glass (transparency, refraction, and distortion), and continuously explore ways of making those properties visible. These invisible but real properties of glass are an appropriate medium to explore hidden aspects of societal conventions and stereotypes. He exposes socially constructed notions of race, class, and gender by combining images of the human body with materials that possess invisible properties.
Yoon received two MFAs from both Rhode Island School of Design and Tama Art University in Japan. He participated in the fellowship programs at the Kyoto University of Art and Design in Japan and the Center for Emerging Visual Artists in Philadelphia. He is a recipient of the Excellence Prize of Song Eun Art, the S&R Washington Award, and the Hayward Prize for Fine Arts. His work has been included in several important national and international exhibits including “40 under 40 Craft Future” at Renwick Gallery in the Smithsonian Museum of American Art in Washington DC; “Playing with Fire: 50 Years of Contemporary Glass” at the Museum of Arts and Design in NYC; “Hand +Made: the Performative Impulse in Craft” at the Contemporary Arts Museum in Houston Texas; and Cheongju International Craft Biennale in Korea. He has also exhibited at the Shelburne Museum in Vermont; Brattleboro Museum in Vermont; Hunter College in New York; Brown University in Rhode Island; Collection Gallery in Paris. His work is in the permanent collections of the Smithsonian American Art Museum, West Collection, and Song Eun Art Space. His work can be found in catalogs that were produced for several of the exhibitions mentioned above as well as in the following publications: Cacao Magazine (Moscow issue 11, Love) Taiwan, Cornell Journal of Architecture 9: (Mathematics), The Drama Review (Volume 56, Number 4) MIT Press, Doppelganger_Images of The Human Being in Germany, and New Glass Review 25, 34.