
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.

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.

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.