In the paintings of Insoo Shin, the process is as vital to the work as the resultant image. And there are many processes involved. Handmade paper is prepared over the course of time; many layers are created before the surface is ready.
Insoo presses the pulp with hands and feet, coercing and forming it to the desired texture and shape. The choice of material, Dak, which she transforms into Hanji paper, bears the weight not only of the artist's pressure, but of centuries of legend and use, as well. Hanji paper, revered in the East as one of the finest and most enduring papers ever created, has been in use since antiquity. To this material, laden with metaphor and integrity, she adds sparse markings in ink. In the artist's words, the two elements " breathe in different worlds of light and darkness. "
In these minimalist paintings, in which nature, itself, is one of the creators, one spot or stroke can encompass the labors and gestures of countless hours. Time and action are preserved, and the final painting conveys a sense of timelessness.
The image that remains is a testament to the preparation, while at the same time, it is the ultimate aim of the work. Each piece embodies the memories of the work. Each piece whispers its own past. The moment of creation can never be fully captured, and yet vestiges of the process are embedded within the work.