CURRENT EVENT

Chin likes merging nature and matter of material. Following her mother's passing during COVID-19, the hydrangeas, flowers beloved by her mother, bloomed in the front yard of Chin’s new home the spring. The work The Flower Bier (2021-22) is described as being made from dried hydrangeas, designed as a floral bier (Kkotsang-yeo), accompanied by a ‘Kokdu’, which are traditional wooden figurines used in Korean funerals. This installation work signifies Chin association of flowers with the memory of her mother, especially since her mother passed away in Spring. Describing natures sensuously and elegantly is a form of healing just by observing it. Thus, with a hope that she will never wilt, ‘Flower’ represents to remember the beings she yearns for. Her recent works, Sangsahwa (2023) and Lua Creciente (2023), are three-dimensional paintings created by connecting recycled paper to form abstract representations of flowers. She drew inspiration from surprise lilies, which symbolize a yearning for a being, a presence of love that remains unavailable. The mystery of leaves falling, leaving only the flowers behind—when the flowers bloom, the leaves are already dried and gone—has always fascinated for her. Her pain and grief symbolize the metamorphosis of despair into a visual language of optimism, reflecting the strength of her spirit. The aim to sensually and vividly represent nature stems from a desire for healing through mere observation, finding comfort and relief by just looking. She senses significance in the magnitude of personal feelings and the tiny things of daily life. Nature's various patterns, animals, the unconditional curiosity and love of children, and the humble generosities of human interactions inspire her. Her work becomes a tribute to the resilience of humans, feelings, and acts of kindness, telling us that all pieces of experience are necessary to her work. Chin finds relief in her work and the natural world, with the creative process being a form of comfort and remembrance. 

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Before she paints the canvas, she tries to connect with the theme, allowing it to drive her thoughts, senses, and feelings. This initial mind control is essential, as it sets the stage for a painting that is not just seen but deeply felt, embodying her inner narrative before it develops onto the canvas. She draws inspiration from objects' overlapping silhouettes and shadows, which help conceive forms. While sometimes a drawing captures her imagination and is left as is, she experimented with collage by hand at other times. There is an appreciation for the artistic and originality that transformed recycled materials bring, but above all, they prioritize the harmony between completion and form. Every process is important to her work; one could even say it is everything. The surface of the canvas builds up gradually with the color of low chroma and displays a variety of hues depending on the angle of light.  Chin is also interested in exploring by combining sound into installations and sculptures, pursuing a synthesis of sensory experiences. The work process is fundamental; one could even say it is everything. Visualizing the language of everyday life, sounds, and the noises of materials and then separating them back into sounds is also fascinating. Ongoing research embodies landscapes, seasons, colors, and sounds within her work