Sooin Huh perceives objects as artifacts whose meanings are continuously reconstructed through context and relationships, capturing the moment of their rediscovery. Flowing through a dialectical process, these states transcend temporal boundaries, constantly evolving into fluid definitions. This process of shifting hierarchies invites us to rethink the ways we inhabit the world. The rhythms and structures that arise become a visual language, opening possibilities for new networks of connection within the inevitable and enigmatic systems of the world—where we coexist within ever-changing definitions.
In order to connect with the world, I chose to love everything. This love began as an attempt to understand the world around me, and through it, I began observing who inhabits it and how it is structured socially. I started to pay attention to the people and objects I encountered in everyday life—those that had always been beside me. The relationships I began to form with them became the starting point of my work. It turned out that we were already connected, and perhaps we had been preparing to face each other for a long time.
From this sensibility, my work expands into an interest in objects. I see objects as artifacts whose meanings are constantly redefined within the contexts and relationships in which they exist. Rather than treating them as isolated entities trapped in fixed functions or values, I approach them as fluid identities—shaped by layered histories, inherent narratives, and the way they are arranged or placed in space. I pay particular attention to how objects move between visibility and invisibility, centrality and marginality, and how such movements reveal the instability of seemingly fixed hierarchies or classification systems.
Within the dialectical flow of continuous definition and redefinition, I explore how objects transcend linear time and become entangled in dynamic systems of ever-shifting meaning. This inquiry goes beyond addressing the ontological nature of objects, expanding into critical questions about the structures through which value, function, and significance are socially and culturally constructed—and through this, I reflect on my own position within them.
The structures I create are composed of found objects, industrial timber, metal elements, and other materials that constitute our surroundings. These components undergo engagement and reconstruction, emerging anew within different contexts. Through this method of assembly, I explore the possibilities of new meanings within stratified layers, repeated gestures, and the rhythms created by form. These installations function as a visual language, allowing viewers to recognize not only the objects themselves, but also the gaps between them—and the invisible systems those gaps imply.
Rather than pursuing clear conclusions, I aim to reveal states of uncertainty, transition, and coexistence. Within complex social systems, my work attempts to create a space for thought—an alternative mode of perception and communication. In this space, difference does not serve as a cause for division, but as a foundation for connection. Through such sculptural encounters, I hope to open up new possibilities for relationships between subject and object.
Within these relationships, we are brought to face once again the past, sensations, and layers of meaning embedded in objects. The fragments of meaning deeply rooted within us move toward new definitions through the process of interpretation. From this perspective, objects and their systems of recognition reveal how our past, present, and future are interconnected through countless axes shaped by the process of thesis, antithesis, and synthesis. Within the systems where knowledge, experience, and materiality have accumulated over time, we live in relation to innumerable definitions that transcend time and space.