GOLDFINCH GALLERY IS TEMPORARILY CLOSED AS A RESULT OF COVID-19 SHELTER-IN-PLACE. WE HOPE TO OPEN FOR PRIVATE INDIVIDUAL APPOINTMENTS SOON.
Paths Between Two Steps
March 15 – June 10, 2020
Exhibition organized by Elizabeth Lalley, assistant director
SElected WORKS ON VIEW:
“I use the inherent properties of a material as my visual vocabulary. Painting the materials doesn’t really make sense because it would disguise their materiality. I use the color black because it alludes to the nature of the unknown and the blindness within the mechanisms of faith. I tried to figure out how to convert these into something that I can sense with my body, and I came up with the gesture of seeing with my eyes closed, or the sense of not being able to see. This is how the darkness or black has become a part of my work. The psychological matter is translated into physicality in a very literal way.”
In their muted palette of blacks and steely greys, Soo Shin’s sculptures feel like they contain something beyond the surface that we aren’t able to see, like looking into a deep well or dark lake. The artist has described her practice as “searching for something with my eyes closed,” calling upon an acute sense of trust or vulnerability in the pursuit of making. The subjects that hold Shin’s attention are likewise “unseeable,” existing not as physical entities, but as ineffable psychological experiences….
“My current art practice is mostly sculptural. I work with wood, metal, ceramic, and other materials. I love the slow labor of woodworking and welding. The natural property of the material¬– such as rigidity, texture, and color–delivers a specific mood in the object. Those objects are imbued with a presence that is a mixture of the body and mind. They become the outer structure of a body, alluded to by the specificity of bodily gestures. The gestures are metaphors to delineate the psychological uncertainty of human experience. Often, the uncertainty is an uncomfortable state, and we strive to avoid it. Of course, certainty provides direction and efficiency, but in that efficiency, there is a danger of quickly reaching for stereotypes and dogmatism that keeps us from any desire to understand the world. I try to prolonged this space of uncertainty in a physical way.”