In her latest wall-based project Shin departs from the saturated colour palate employed in many of her previous site-based works. Instead she appropriates tonalities from the Kodak grey card, an instrument used to obtain accurate exposures in photography. In evoking a core photographic methodology, Shin continues to situate her abstract practice outside of a purely self-referential context. Each tonality is not just chosen for its implicit qualities; they refer to a mathematically perfect form of reproduction.
Her matrix of folding lines continues to explore delicate variations of a single tone. Rachel Carley states, ‘her works acknowledge that colour is deceptive, relative, and duplicitous. The artist is keenly aware of what Josef Albers has already noted, “with colour we do not see what we see. Because colour, as the most relative medium in art, has innumerable faces or appearances”.’