Shin Moon’s sculpture, as we can see in its inherent diversity ranging from moderate colossus to small sculptures and to the sophistication of the masterpieces, gathers rich types of wood and metal. Even when the sculpture depicts the lost paradise where a pachyderm or various, enigmatic and unidentifiable creatures walk peacefully, or an uplifting of grotesque creations, we find no way to identify such aggressiveness or provocation in front of his serene tranquility. Perhaps we should trace back to his departure to Europe and his life in France that started in 1961 to perceive the birth of his vocation. His perception is well reflected in his analogy which is as well-known as Newton’s apple of gravity or Proust’s madeleine episode. We are told that Shin Moon was inspired of the experimentality, concreteness, and sturdiness of the material through his repairing of the old castle by carpenters and stonemasons. He transformed from the world of conception with a strong sense of realism to a strict, geometric world of abstraction without an obvious hint of transition

 

  We are in vain trying to find the roughness in the form of a rounded concave curve of simplicity, smoothness, shiny metal (stainless steel or bronze) or wood (solid wood, wooden plates, exotic jungle woods). Their surfaces are glazed, pitted, wiped, absorbing light and waiting for caress. He wants to involve them in the happiness of creation. They are firmly anchored in the earth, as is the case with all the creations of Shin Moon, clearly highlighting the solid framework. He is going toward "the universe." As mentioned above, such titles do not find the need for explanation. It offers and explains the intrinsic desire of the artist from the series of giant discs to the frantic transformation into the universe. "Harmony" has been repeated and expressed four times in the name of assimilation.

- Jean-Marie Dunoyer (Le Monde critic)

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 문신의 조각은 중압적 이거나 온화한 거상에서부터 소품, 대작에 이르는 걸작의 세련됨에 이르기까지, 그의 엄청난 다양성에서 엿볼 수 있듯이, 풍부한 종류의 목재와 금속을 집결시키고 있다. 발걸음이 가벼운 후피동물이나 수많은 불가사의한 근원을 알 수 없는 생명체들이 평온하게 거니는 실낙원에서 융기, 돌출하고 있는 예상스런 창조물들이 그의 작품에서 표출됨에도 불구하고 문신의 지극한 고요함에 마주서면 우리는 그 격렬함이나 도발성은 전혀 찾아낼 길이 없어진다. 아마 우리는 문신의 유럽으로의 출발과 1961년부터 시작된 프랑스에서의 생활을 들추어 보아 그의 천업의 탄생을 직감해 볼 수 있다. 그의 자각은 뉴턴의 만류인력의 사과나 프르스트의 마들렌느 과자와 같이 잘 알려진 그의 일화에 여실히 반영되어 있다. 우리가 알기로 문신은 때때로 목수, 미장이, 석공 등의 고성의 복구 작업을 해내며 사물의 실험성, 구체성, 견고성의 영감을 얻었던 것이다. 문신은 두드러진 중간 과정 없이 사실주의의 향상이 짙은 구상세계에서 엄격한 기하학적 추상세계로 변모해갔다. 

 우리는 간명하고 매끄러우며, 광택이 나는 금속(스테인리스 스틸 혹은 브론즈)이나 목재(견고하며 희귀한 나무, 목판, 이국의 향나무)의 둥글게 어우러진 곡선의 형태에서 거칠함을 찾아내려 헛되이 애를 쓰고 있다. 그들의 표면은 윤이 나고, 갈리고, 닦이어, 빛을 흡수하기도 하며 애무를 기다리고 있다. 그는 그들을 창작의 행복감에 참여시키고자 하고 있다. 그들은 문신의 모든 창작품이 그렇듯이 대지에 단단히 닻을 내려 확고부동한 틀을 뚜렷이 부각시켜주고 있다. 그의 호적수는 "우주를 향하여"향해 가고 있는 것이다. 위에 설명했듯이 이와 같은 제목은 설명의 필요성을 느끼지 않는다. 그것은 거대한 원판의 시리즈로부터 검소한 변모에 이르기까지 문신의 내밀한 욕망은 우주를 향하고 있는 것을 제공해주며 설명해주고 있다. "조화"는 융화의 명목으로 네 번에 걸쳐 반복해주며 표현해 주었다. 
 
  - 쟝.마리 듀노와이에 (르.몽드 지 평론가)