Installation view of 《The Busted》 ©GALLERY2

GALLERY2 presents a solo exhibition 《The Busted》 by Suin Choi, on view through April 12.

The exhibition primarily examines how relationships are formed through staged situations, revealing the presence of the observer alongside the exposed. Even if this observer exists inertly outside the image, their very presence—pervasive like ambient air around the exposed figure—visualizes a kind of stage constructed by these antipodal origins.

In this exhibition, Suin Choi presents You will not see it (2025), her first attempt at a serial composition. While she has previously imagined a singular stage mise-en-scène, this latest work horizontally links five canvases to create a vast panoramic landscape.

Installation view of 《The Busted》 ©GALLERY2

The Busted (2025) is her first work beyond the paint medium, a sculpture exploring three-dimensional stage composition. Turtle Rock (2025) is suspended like a large tapestry with the reverse side against the gallery's large front window, inverting the viewing approach and adding a new dramatic structure to traditional viewing methods.

Through the composition of 《The Busted》, Choi expands the work’s complexity by metaphorically and implicitly referencing the presence of an "observer." In You will not see it, artificial yellow forms—distinct from natural elements—symbolize the "busted" subject. The Busted itself portrays a nearly human figure kneeling with one arm raised, capturing the moment of being exposed by an unseen observer.

Installation view of 《The Busted》 ©GALLERY2

Meanwhile, Turtle Rock is based on the actual Turtle Rock of Ulleungdo. By enlarging the image to the scale of a vast tent rather than a conventional canvas, Choi explores the reversal of roles between observer and observed, depicting both natural elements and emotions translated into nature.

Choi’s work does not merely depict the external appearance of natural objects but instead captures the discomforting emotions formed in human relationships and the state of being exposed. In everyday conversations, emotions may unexpectedly surface, revealing hidden desires. She visualizes these emotional signs through defensive forms resembling natural elements or unidentified creatures. As a result, her imagery stimulates tactile imagination, prompting the audience to engage with her work on an experiential level.