Julie Yeo is not fucking around. Her take no prisoners solo at Boo Hiss tells the complicated tale of the aftermath of trauma. Pilot Season: Blood Sun is populated by the artist herself in the guise of the combined mythological figures of Yeongno and Medusa. By casting herself as two monsters she is confronting and challenging how we often think of women and their bodies. Like in Medusa’s myth  we put blame on the body  and punish the occupant for the actions of others. Like Yeongno’ s ordeal we send the body and mind on a difficult journey of healing/ redemption.



Masterfully rendered in color pencil Yeo’s drawings begin where many classical paintings made by men end, after a woman has experienced a catastrophic event. We the viewers bear witness to the human messiness of healing. Yeo and her avatars are tasked with the making sense of their fragmented form as they seek heaven. They twist to escape the foggy faces of memory, striving to reunite with each other at the blood red Sun. Becoming whole or at least less fractured after a painful event is long process. Together the drawings take on the feel of religious imagery guiding us along a trek through hell. Yeo is giving us  the brutal honesty about both the struggle and beneficial necessity of moving forward

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