In organizing the exhibition Crossing Gene in 2005, artist Shin Sujin demonstrated mutual-subjective intervention. Various artists from Korea and the United States collaborated in that event, sending each other their works. The distinction between the artist as a subject who creates the work, and spectators as objects, disappeared in that exhibition. Those who received other artists' works interpreted and completed them as the new subjects of the creating process. The artist who started out as the subject, therefore became a spectator. Thus the exhibition derived the concept of "between the subjects" from the significance of intervention.

The concept "between the subjects" can be discovered in the print installation work consisting of more than 450 individual prints in the exhibition. Spectators may participate directly in the process of making this work, titled Intervened Flow. Prints are arranged on the wall to resemble flowing water. Spectators are asked to choose one print and leave their mark on it. So the works to be exhibited in the gallery thereafter are those that carry on the mutual-subjective concept of the earlier-mentioned Crossing Gene. Besides such intervention, Shin's solo show also features relations of printing, painting and objects occurring between prints, paintings and installations, which develop into a new types of intervention by subjectivity.

Inter-genre intervention can be seen in the various spit-bite techniques as well as the diverse expressions of fluid. With the expressions of this fluid "flowing," her works are often understood as paintings, rather than prints. The oil and ink reveal a refreshing feeling of free watercolors, like a transparent abyss or a stream of water. Thus, in appearance, her works look like they were painted rather than printed. Such a characteristic, seeming to be a print but not a print at the same time, shows a post-genre form, transcending the unique nature of the medium, and furthermore, some works actually introduce painting techniques on top of prints.

Shin's works can be categorized in a parallel formation. As seen in Trace of Current or Streamed, the works generally consist of multiple images in 7s, 5s or 3s, rather than a singular image. The significance of epagoge, or "placing beside," forms parallel meanings. In fact in the work Trace of Current, five different independent images of fluid and water drops are arranged so that they neighbor one another. Through this neighboring, the artist presents them in a parallel format, but at the same time, derives general significance from the concrete images. Abstract and conceptual works are presented in parallel through difference and repetition, enabling spectators to understand concepts that cannot be conceptualized.

Actually, the relation between the neighboring images is not simply parallel, but rather something that enables one to read the flow and change between the images, and thus discover a rhythmic perspective. Rhythm (rhuthmos) does not mean poetry or musical rhythm, but the rhythmic, repetitive and fragmental beats and rhythms revealed in the fluid forms, and can be understood in a very biological aspect, as Jousse referred to rhythm as a "heartbeat." In this sense, Shin Sujin's work is visualized as a "rhythm of life."

The artist uses these biological words. One example is Streamed, in which the artist emphasizes that it refers to "body fluids." In this work, consisting of 7 picture-planes, the artist creates mutual differences between the images by changing the density and rhuthmos of the paint in the otherwise identical images. This idea is flowing thought, but also presents a theory of flowing.

When I look at the artist's blue, I associate it with the idea of Geneviève Asse Asse studies blue while searching for the light. He explains that "Everything happens there. (…) It harmonizes matter and gesture." This is a situation that can be compared to the artist's work, though the object is replaced by water. The artist connects her actions, such as scratching, engraving, inking and printing, with the printmaking materials, such as acid, acrylic, paper, oil and ink. Asse sometimes paints on thick and heavy layers of paint with a brush, but reaches a powerful "transparency." Like this transparency, Shin's transparency is also achieved not just through flowing rhythm, liquid and body fluids, but rather through "opaque and powerful hues and brush strokes." In other words, through the powerful colors, images that seem to float even though they are blocked, images that are afloat but also transparent, and the feeling of transparency and thickness at the same time are captured by the blue fluidity.

Through what is fluid, the artist does not just gain images of water or fluid, but captures a greater and broader dimension of form. Moreover, her prints are made accordingly through dry-point or acid erosion techniques. In the same way the artist explains the formed water drops and other fluids and "body fluids," she is attempting to contain something human. The scars and fluids in her prints are very important. Why body fluid? As what sustains life is body fluid, the forms drained of printmaking ink can be interpreted as visualization of the artist's personal scars and mentality.

Among these works, there is an arrangement of round circles, which shows a shade of blue that seems to be strong at some times, and completely diluted at others. This is achieved by printing the image with oil-based ink, and then pouring on turpentine, thereby creating a "receptive" appearance that resembles poured water. This is supposed to produce a sense of "body fluid being drained out." Such body fluid includes the significance of "human formation," which is suggestively included in her abstract forms. Hence, they are emotional, and include issues of the human "body." Such things act as semantic and emotional signs, which move very secretly and intimately.

In making prints, Shin creates a certain depth, in addition to the parallel formation. In fact the earlier-mentioned transparency also comes from this depth. The fluid made by light and thin blue paints an illusion of "depth," sometimes by dark blue as well. Meanwhile, as a printmaker, the artist creates a material depth by printing a single picture-plane with multiple plates. This space of depth makes possible a heterogeneous intervention. In the work Intervention of Red, the dark colors with a black glimmer are inserted like scars. Formatively, in addition to the heterogeneous intervention of red, human scars are carved into the works, leaving strong traces.

In this sense, the heterogeneous intervention can also be interpreted as an emphasis of psychological "wounds," rather than formative colors. Among these works using the dry-point technique, the work Intervention of Red is made by drawing lines on an acrylic plate, and transferring this into color lines. The seemingly delicate and emotional surface is actually traces of "wounds." Wounds include the hidden and aggressive actions of destroying the surface. A wound is called "plaie" in French and means "open skin." This is a certain thin linear fold, but is also seen as a surface open to the outside. Such a surface creates a certain epidermis and an inner layer within the flesh. In that sense, the artist reveals these layers not like skin, but like a "truth" that had been concealed.

Shin points out that "printing is an act of making certain wounds and leaving such traces." The wounds are facts. Scratching the surface and sometimes creating traces by putting the plate in powerful "acid" are psychological and formative actions. Perhaps that is why a hidden aggressiveness is detected. The duality of being wounded, ripping away at the skin, and peeling off a layer of skin amidst the lyrical tranquility of the artist makes us witness a tender and gentle picture-plane on one hand, but on the other hand reveals actual physical and psychological layers based on other realities hidden beneath the surface. The artist visualizes wounds along with the logic of rhythm and flowing, thus creating depth and an abyss. This horizontal and vertical formative study of the artist gains new value in this exhibition as it achieves even more delicate beauty.