ARTISTS
Yunhee Min: Stills
Vielmetter Los Angeles is excited to present Stills, a solo exhibition of new paintings by Los Angeles-based artist Yunhee Min, on view from November 1st through December 20th, 2025.
Yunhee Min鈥檚 new suite of small-scale paintings reflects her ongoing interest in optical phenomena, transient light, and in capturing a sense of emergence. Each piece meditates on the passage of time, translating atmospheric impressions, sounds, memories, and observations into heavily saturated, tonal and near-translucent fields of color. Through Min鈥檚 deft grasp of the interactions between color, form, and opacity, the compositions seem to vibrate and flicker as layers of paint meander in and out of visibility.
Min likens this work both to film stills and to still life painting. These two genres possess the seemingly contradictory qualities of being static while alluding to what may have preceded and what may come. She describes a process that involves 鈥減rolonged looking, quick glances鈥ounds near and distant, ambulating, floating, and remembering鈥�, expressed through palimpsests of color and gesture that alternatingly emerge and disappear.
Min continues an exploration of the material possibilities of mark-making, employing a variety of different applications: wet and dry brush strokes, pours, drips, and rolls. The amalgamation of these approaches creates complex relationships between figure and ground, where solids dissolve into formlessness and shapes materialize out of pure expanses.
On this new body of work Min writes:
Like still images from a film, these paintings hold time with numerous segments and events on the surface of the canvas. When I think about still life painting, I imagine stillness in time, presence, and passing of light.
Always present in everything visible, color is living and moving.
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Vielmetter Los Angeles is excited to present Stills, a solo exhibition of new paintings by Los Angeles-based artist Yunhee Min, on view from November 1st through December 20th, 2025.
Yunhee Min鈥檚 new suite of small-scale paintings reflects her ongoing interest in optical phenomena, transient light, and in capturing a sense of emergence. Each piece meditates on the passage of time, translating atmospheric impressions, sounds, memories, and observations into heavily saturated, tonal and near-translucent fields of color. Through Min鈥檚 deft grasp of the interactions between color, form, and opacity, the compositions seem to vibrate and flicker as layers of paint meander in and out of visibility.
Min likens this work both to film stills and to still life painting. These two genres possess the seemingly contradictory qualities of being static while alluding to what may have preceded and what may come. She describes a process that involves 鈥減rolonged looking, quick glances鈥ounds near and distant, ambulating, floating, and remembering鈥�, expressed through palimpsests of color and gesture that alternatingly emerge and disappear.
Min continues an exploration of the material possibilities of mark-making, employing a variety of different applications: wet and dry brush strokes, pours, drips, and rolls. The amalgamation of these approaches creates complex relationships between figure and ground, where solids dissolve into formlessness and shapes materialize out of pure expanses.
On this new body of work Min writes:
Like still images from a film, these paintings hold time with numerous segments and events on the surface of the canvas. When I think about still life painting, I imagine stillness in time, presence, and passing of light.
Always present in everything visible, color is living and moving.
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