A space that co-exists within two realities.
Floppy limbs and compartmentalised forms occupy artist Shinuk Suh’s Euston-based studio. These wavy shapes, half-removed from planes of wood, appear to not be able to exist in our three-dimensional space, rather, they are abstract representations of thought and snapshots into the ambiguous state that the human body enters before and after sleeping. Sliced folds of silicon have been left on the floor like shaved remnants of skin, mirroring the anthropological nature that underpins Suh’s works, where hands rotate repeatedly on the dirty floor. On the walls, the artist’s drawings are highly cartoon-like in their visual language, from splattered detergents to drying bodily parts, hinting at the disasters that often underpin these humorous depictions. In one of these drawings, I notice that a pair of trousers, hung from a metal rail above my head, are like the artist’s own outfit, deep blue and splattered with white paint. A coffee machine sits to the side of the studio, this being a necessary feature since Suh spends a lot of time in this space, drinking at least four cups of coffee a day to keep going – as all his work, from planning to completion, is made here. Mixed in with this aroma is that of hand-cream, this being essential for the artist as applying it is almost a ritual to start his work each day.