About

Shin Jisoo · Jang Chaelin · Choi Sangjun. We instinctively form judgments the moment we encounter something. We regard mold as a sign of decay, assume that objects hardened into solid form remain motionless, and interpret elaborate appearances as attempts to reveal oneself. Yet the appearances we have come to accept as familiar do not always tell the whole story of what lies before us. Suspicious Surfaces begins at the moment when these familiar assumptions no longer hold true. Although Shin Jisoo, Jang Chaelin, and Choi Sangjun share glass as their primary medium, their practices explore distinct subjects, ranging from the cycles of life and shifts in visual perception to the desire to both reveal and conceal oneself. Shin Jisoo discovers the potential for new life in mold, commonly associated with decay and contamination. Through organic forms and textures, the artist explores the cycles of nature, where growth and disappearance coexist, inviting us to reconsider what we might otherwise overlook. Jang Chaelin creates constantly shifting visual experiences within the fixed forms of glass. As colors and images change according to the direction of light and the viewer's position, her work reveals how a single object can hold multiple appearances. Rather than remaining a fixed visual form, each work unfolds through the movement of the viewer. Choi Sangjun's Beardman draws attention through its vivid colors and patterns, yet its elaborate exterior also serves as a means of concealment and self-protection. Through this character, the artist explores the complex emotions that arise between the desire to be seen and the need to remain hidden, as well as the tension between connecting with others and protecting oneself. What connects the three artists is the way their works challenge the assumption that outward appearances necessarily correspond to what lies within. Life continues where we might expect only an ending; an object that appears unchanging reveals unexpected variations; and the most conspicuous appearance can become a means of hiding oneself. Suspicious Surfaces does not ask viewers to search for definitive answers hidden within the works. Instead, it invites them to look a little longer, shift their positions, and reconsider their first impressions. Perhaps what we discover is not something concealed beneath the surface of the works, but our own ways of seeing, so familiar that we have rarely thought to question them.