Hannah Shin

My interest lies in the light displacement between myself and the external world. This mediating light is like a redeemer - as much an expression of the transcendental sense of being alive, redefining the objectivity of things. I like to see things being de-materialized and being redefined by the way light quality varies, hence the outcome becoming more abstract, no longer recognizable. And I correspond to it by transmitting the contingent process into my art practice, mainly using the paint medium.

My process is inevitably connected with the process of photography - I take this process to 'orchestrate' the way of working as painting. So I like to use terms like exposure, reflection, transparency and projection - which, perceptibly and conceptually, have a certain relationship to light displacement, speed, and time-based spatial depth. 

Each work is captured moment of events from decision-making process. It provides the sense of feeling or presence of being 'in' a place, though the subject often blurs and distorts during the process of physical mark making. This 'abstraction' begins during the stage of transporting an idea from one place to another. For me this is when pictorial light transcends representational purpose. Thus, the process of recognition becomes equally important as unrecognized abstracted marks, like a push-pull effect.