Time-Delay, Installation View. Two Rooms, Auckland, 2022. Photo by Sam Hartnett.
Photo Credit
Time has operated unusually for many of us over the past few years; slowly attenuated, strangely accelerated, or slipping backwards and forward in our memory. The regimented tick of seconds and minutes of Greenwich meantime seems incommensurate with our inner durations. In Jeena Shin’s twin series of paintings, this feeling for alternate temporalities reflects a holding pattern of a kind.
From 2020 to 2022 she has been living closely with her paintings, while periodically our exterior lives dissolve and we find ourselves doing and undoing. Jeena's forms hold us carefully in time as each figure in a painting holds the memory of the figure before and the potential next step in the sequence. In another sense, Jeena is also held to the template’s unfurling; the time before, the time now, the time after, exist simultaneously in the system that has generated these series of works.
-Janine Randerson
Time has operated unusually for many of us over the past few years; slowly attenuated, strangely accelerated, or slipping backwards and forward in our memory. The regimented tick of seconds and minutes of Greenwich meantime seems incommensurate with our inner durations. In Jeena Shin’s twin series of paintings, this feeling for alternate temporalities reflects a holding pattern of a kind.
From 2020 to 2022 she has been living closely with her paintings, while periodically our exterior lives dissolve and we find ourselves doing and undoing. Jeena's forms hold us carefully in time as each figure in a painting holds the memory of the figure before and the potential next step in the sequence. In another sense, Jeena is also held to the template’s unfurling; the time before, the time now, the time after, exist simultaneously in the system that has generated these series of works.
-Janine Randerson
