在韓國接受美術教育後，她前往英國深造，在接納新教育方式的同時，她發現異地文化會以轉譯後的型態融入當地制度和習俗而被重新接受，這令她意識到，古典雕塑的再現並非是對原作的單純複製，而是一種轉譯。她的再現作品揭示原作與複製品之間的差異，解構原作的歷史意義，引導觀者從當代視角重新審視與理解。她所轉譯的明清陶瓷，背離了原物所具有的歷史光環，而僅呈現物件的外在形式。此外，作品散發的肥皂香氣，也揭示了這些美麗的白瓷只是複製品的事實。無論是古典雕塑或是白瓷，在博物館中，它們總被視為是需長久保存的藝術文物，但肥皂卻隨時可能消蝕或融化。申美璟關注的不僅是原作與複製品間的差異，還在於探究物質隨時間變異的過程。這些白瓷過去大多是為了迎合歐洲曾經風靡一時的中國風而製作的出口品，這也提醒我們，品味如同肥皂般短暫而虛幻。肥皂的脆弱性也讓人聯想到生命的無常。

After receiving her art education in Korea, Shin pursued further studies in the UK. Exposed to a new educational model, she realised that foreign cultures are often accepted locally through a translated format. This insight led her to understand that representations of classical works are not mere replications but translations. Her replicas of classical works reveal the differences between the original and the reproduced pieces, deconstructing their historical meanings and inviting viewers to re-examine and understand the originals through a contemporary lens.
The Ming and Qing Dynasty ceramics she reproduced depart from their historical glory, embracing only the original works' external forms. The fragrance emitted from her pieces also unveils their nature as replicas. While classical sculptures or porcelains are preserved for extended periods in museums, soap is prone to disintegration and melting. Through this contrast, Shin focuses not only on the differences between the original and the replicated but also on the natural processes that materials change over time. Furthermore, historically, porcelains were produced and exported in response to the Chinoiserie craze that swept across Europe. This reminds us that tastes are as ephemeral and illusory as soap. The fragility of soap also speaks to the vanitas (vanity) of life.