Joo Choon Lin’s practice is her philosophical interest in the nature of reality which might be summarized in terms of the philosophers’ longstanding investigation into the relations between appearance and essence. Choon Lin’s own investigation into these questions is also informed by her interest in technological developments: as the various technologies of representation devise new ways of capturing the likeness of things, so the quality of the surfaces of these things undergoes a transformation. Consequently, reality itself appears as if reconfigured. She has been experimenting with a range of materials and media as a means to examine the relations between visual and tactile experiences.

The installation is an on-going exploration of Joo Choon Lin’s INTESTINOLOGY series which sees the artist drawing from a web of references in an attempt to unravel intent through practice. Joo complicates values system by creating paper bags in copper and drawing parallels to the stomach- collapsible, fragile, bodily, waiting to be empty and filled.  Taking from the thermal sensation of metal combined with an electroplated chromosome 2 linked to human emotion, Joo constructs a visual equation digesting and unraveling the notions of warmth and emotionality. She describes the process where we ‘digest’ information and through the processes in creating the work, it aims to complicate this ‘digestive’ process by re-programming the way we draw associations, disrupting hierarchies and questioning value placements to materials and objects; namely pennies; and diamonds and graphite. The work consists of layers of contradictions – polarities and similarities.

The Serie 02-  The Black Paraphernalia- is inspired by the Black Museum in Scotland, which houses a collection of criminal memorabilia. Joo Choon Lin explores how seemingly innocuous items, such as ketchup bottles, can be fraught with meaning, just because they are used in crimes. These questions form layers in her work and the dialogues she creates from their aftermath, from reassigning surfaces away from their assigned uniformity derived for the sake of external influence, pressure and social reaction.