Yein Son explores and examines the constructed skin and surface within what can loosely be described as a painting practice. The manipulation of painterly materials and the processes employed are connected to the philosophical approaches of Dansaekhwa, and its interest in a particularly Asian perspective on abstraction. Recent works investigate, in various ways, the on-going relationship between 'doing & undoing', and a range of ink staining techniques that address forms of materiality and immateriality. In these works, subtle and ambiguous figurative imagery exists on, ‘within’ and behind the paintings’ sensitively multi-layered surfaces with suggestion and absence. She has experimented and developed her own voice through her interest in, and research into, Helen Frankenthaler, Sigmar Polke, Robert Rauschenberg, and Korean Dansaekwha.