The two installations created during this residency are an extension of Sue Kim's recent works developed in the Matrix series. Her inclination toward geometric structures, material properties and their arrangement has continually evolved through various forms, culminating in their exhibited state in the installation presented at Florìda. Both works grew out of the initial spatial research to generate the installation of A matrix with spheres. While exploring ways to build three-dimensional structures with linear elements (metal rods) without welding, he found Nino's suggestion of a cubic joint interesting and began to make it from wood. The wooden joint, chosen for structural reasons, formed an intriguing heterogeneous harmony with the metal bars. The wooden joint, initially a structural accessory, was elevated to a primary element of the structure after he discovered a beautiful block of unprocessed wood with bark in the studio. As a result, the image of the spheres was separated, giving rise to two different works: Spatial form - stepping on the ground and Field with spheres.

The work Spatial form—stepping on the ground, which also began with the idea of the matrix, was initially constructed entirely with orthogonal lines. However, during development and research, it expanded without any obsession with the defined plane, as if drawn in space. This process of thesis-antithesis-synthesis allowed the work to develop more dynamically and ultimately better reveal the physical and structural relationship between the wooden joints and the metal bars. The form of the installation is created by three elements: wood fragments that seem to float in space but actually support the structure, lines that extend and divide the space, and the viewer's position. Observing this structure in which the elements support and rely on each other while remaining independent, he wanted to title it Trampling the Ground.

The work Field with spheres in the basement is installed in a narrow corridor of singular beauty. This site-specific installation emphasizes the abysmal depth of the corridor. Each grid in which the spheres are located forms multiple layers, inviting viewers to look "beyond." The reflective and transparent spheres appear discontinuous or continuous, particle-like or mass-like, depending on the viewer's position and angle. Light reflects or passes through their smooth plastic surfaces, giving viewers the role of observers while revealing various imaginary silhouettes. Is it possible to "see what it is like" with human eyes? Where do we place ourselves in this world? These are questions that crowd in.

BIO
Sue Kim is a Seoul-born multidisciplinary artist who lives and works between Paris and Milan. Her work concentrates on observing and collecting every day worn or discarded objects, which are reorganized and interpreted in space. In this process, objects lose functionality by becoming exclusively matter, colour, texture, and sound. Imagine a new physical space beyond anthropocentrism. The disassembly and reconstruction of everyday elements invite us to rethink the relationships between human and nonhuman, living and inanimate, from a critical perspective of our society's development.

photos credits: Francesca Migliorin