The artist, Yoon Miran had used the Hanji(Korean traditional paper) for 30 years that exposes feminine sensibility while the medium of ‘hanji’ includes softness, beauty, delicacy and the unexpected result of adventurousness of torn formation is included in the artist’s space. Her artworks are formulated with in layers of ramie fabric, hemp cloth and hanji with threads that cross over hanji that produces the background.

Since then, the thread that are pulled in front and in between of the traditional papers, depending on the arrayal of threads, the layered hanji lose the original shapes that remains in minimal squares while the artwork is completed by plucking off the square shaped corners by tweezers. This kind of artwork that adequately utilizes the characteristic of hanji provides the viewers peacefulness and tenderness and at the same time intenseness that reveals ambilaterality. However, the mild characteristics medium of hanji not simply approaching as a rough surface but illuminates the softness through silent transfiguration.

In other words, the latticed structure presents the stability of unity and order but when the viewer looks into the structure carefully, the formation is not aggregated but segmentalized, which the viewer naturally experiences the anxiety of constituent parts and dissolution. Especially the edge of the subtle hanji that is slightly lifted generates an environment that maximizes the psychological effect. Moreover, on the edge of hanji that fluffs is imperiling hanged on the edge of chamfer that acts on another component of psychological anxiety.
Since 2004, the artist continuously persisted in the subject ‘Born Again’. Merely, the title ‘New day’ had somewhat altered and designated to ‘Born Again’. From almost 30 years, the artist uses the material of hanji as an expressive method by the subtle changes of words, while the viewers could experience the artist’s continual concerned research of hanji.