**Context & Provenance** Serialized in Jaye Jiyoung Yoon’s visual literature column, "\[서울&\] 숨" (Seoul& Breath), for prominent daily_The Hankyoreh_ as the 2nd installment of its series.

Spanning memories from a childhood in Iraq to a poignant encounter with a Dutch Korean War veteran, Yoon interrogates the strange dissonance of the modern "K-trend" phenomenon against a history of personal displacement and national vulnerability. Drawing on C.S. Lewis’s philosophy that civilizations and empires are merely finite mayflies compared to the immortality of an individual human soul, the text treats memory as an active, living inheritance. Executed through minimalist contemporary croquis—conceptually designed to expand into life-size 3D wire installations—Yoon charts how historical breath becomes physical legacy, proving that every ordinary life is both a receiver and a vital transmitter of human history.  
  
www.byulbon.com/visualessay

Life: We Are, Those People

**Context & Provenance** Debuted April 10, 2026, in Jaye Jiyoung Yoon’s visual literature column, "\[서울&\] 숨" (Seoul& Breath), for _The Hankyoreh_ as the 13th installment of its series.  
**The Narrative** Moving from an enchanting childhood memory in war-torn Iraq centered around "Auntie Rudy"—a former government-sent Korean nurse to Germany whose boundless hospitality lit up her Korean community—Yoon examines the imbalance between unconditional love and human response. The work matures into a philosophical meditation on the true lineage of grace, framing it not as a passive holiday celebration, but as a gentle nudging call to action. Utilizing contemporary croquis, the text challenges the viewer to look recognize and respond to the infinite, unearned kindnesses woven into the fabric of daily life.

Life04. Grace : So Loved the World

**Context & Provenance** Debuted April 10, 2026, in Jaye Jiyoung Yoon’s visual literature column, "\[서울&\] 숨" (Seoul& Breath), for _The Hankyoreh_ as the 16th of its series.

Rooted in her intense hospice caregiving experience, Yoon asserts that “every moment of life is life,” beautifully bridging her private mourning for her mother with the collective, monumental trauma of the Sewol Ferry tragedy. Navigating this deeply shared "landscape of sorrow. Through mixed media and contemporary croquis, Yoon transforms strategic discipline into an evocative vessel for profound universal empathy and internal independence, proving that human breath is understood, endured, and connected.

[https://www.byulbon.com/visualessay](https://www.byulbon.com/visualessay)

Life12. The After : The Country Only Those Who Know, Know

**Context & Provenance** Debuted June 18, 2026, in Jaye Jiyoung Yoon’s visual literature column, "\[서울&\] 숨" (Seoul& Breath), for _The Hankyoreh_ as the 25th installment of its series.  

Opening with an absurd anecdote of a bird striking a pedestrian, Yoon delivers a sharp critique of the contemporary cultural landscape. She contrasts the modern, hyper-connected chase for Andy Warhol’s predicted "15-minute fame" with the paralyzing reality of an "era of universal self-censorship," where harmless humor easily becomes a socio-political battleground. Grounded in the traditional Korean _Supil_ essay concepts of _Yeobaek_ (the unsaid) and _Haehak_ (luminous resilience), the work strips away rigid autobiography to construct a universal mirror—challenging the viewer to find equilibrium and choose an unflinching smile amidst collective societal anxiety.  
  
www.byulbon.com/visualessay

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