YUELIN LI
INFO
I paint what is closest to my heart, beginning with small, intimate moments of everyday life: freshly painted nails, the act of trimming body hair, or a pear cut in half. Working primarily in oil, I depict bodies and objects in domestic spaces, finding tenderness, longing, and sadness in what might otherwise seem ordinary.Through close framing and attention to skin, fabric, and small gestures, I give these details room to be felt. The desire to be close to another person runs through my work. My paintings are often quiet, but the feelings within them are not always peaceful. I paint what is closest to my heart, beginning with small, intimate moments of everyday life: freshly painted nails, the act of trimming body hair, or a pear cut in half. Working primarily in oil, I depict bodies and objects in domestic spaces, finding tenderness, longing, and sadness in what might otherwise seem ordinary.Through close framing and attention to skin, fabric, and small gestures, I give these details room to be felt. The desire to be close to another person runs through my work. My paintings are often quiet, but the feelings within them are not always peaceful. I paint what is closest to my heart, beginning with small, intimate moments of everyday life: freshly painted nails, the act of trimming body hair, or a pear cut in half. Working primarily in oil, I depict bodies and objects in domestic spaces, finding tenderness, longing, and sadness in what might otherwise seem ordinary.Through close framing and attention to skin, fabric, and small gestures, I give these details room to be felt. The desire to be close to another person runs through my work. My paintings are often quiet, but the feelings within them are not always peaceful. I paint what is closest to my heart, beginning with small, intimate moments of everyday life: freshly painted nails, the act of trimming body hair, or a pear cut in half. Working primarily in oil, I depict bodies and objects in domestic spaces, finding tenderness, longing, and sadness in what might otherwise seem ordinary.Through close framing and attention to skin, fabric, and small gestures, I give these details room to be felt. The desire to be close to another person runs through my work. My paintings are often quiet, but the feelings within them are not always peaceful.
© 2025 Yuelin.

See My Absence


Recycled metal, ice, Arduino parts, bathroom caulk
6'1" × 1'7½" × 1'7½"

See My Absence is a time-based kinetic sculpture that explores the transience of existence using the transformation of material as a metaphor for time, memory, and disappearance. As ice melts and metal decomposes, the piece invites quiet reflection, evoking emotional resonance as viewers witness the inevitable process of dissolution.

As the motor orchestrates the ice face’s lateral motion, its movement oscillates between search and hesitation—an automated gesture that unsettles the boundary between mechanism and sentience. The face turns,  aligning with the viewer’s gaze, a brief convergence that dissolves as the ice succumbs to its inevitable phase transition. Ice, a material that exists in flux, underscores the instability of form, its dissolution indexing time’s progression and the fragility of presence. As the structure degrades, the once-defined features blur, melting into formlessness. Droplets descend onto the heated base, their contact triggering an ephemeral vaporization—an audible record of erasure. This interplay between liquefaction and oxidation, between disappearance and residue, positions this work within an ecology of material and temporal collapse. The work does not simply depict loss but enacts it, situating the viewer within the mechanics of impermanence itself.