ong Sin's use of shapes in her collage works comment on a range of dualities: group vs. individual, repetition vs. singularity, randomness vs. systematic order. As viewers, it may be difficult to recognize the conceptual struggles of Sin's work, which exists within patterns and repetition, not unlike nature, where the individuality of each leaf is sometimes lost to a collective notion of the tree. As we continue to absorb her work, it becomes possible to see that her intent is not duplication but variation. Slightness of hand, variations in marks, and colors require contemplation and patience to perceive, confronting us with the opportunity for visual and philosophical meditation.
The replication of Sin's actions and her subject matter foster visual tension. This visual tension manifests as pulsations 
and oscillations similar to the Op Art works of the 1960s. This specific period in art history is characterized by the use of color, line, and shape to transform static two-dimensional surfaces into kinetic-like three-dimensional objects. Mathematics and precision were at the forefront of production during this period. In contrast, Sin subverts the scientific approach for one of intuition through the accumulation of hand-drawn lines and shapes.
As formal tensions begin to give way to a perception of the art as pulsating, so too do the ideological tensions that inform her work. In the end, we discover her work is not about polarities but integration. The concept of singularity, whether in the form of an idea, movement, or belief, combines with its opposite to form a continuum that our minds and imaginations can travel along.
Yong Sin, born in Seoul, Korea, is based in San Pedro, California. A graduate of Otis College of Art and Design, her artworks are in the collections of the Los Angeles County Museum of Art and Microsoft Corporation among others.
