“I feel responsible for these things,” Jean Shin says during a tour of her studio, a converted three-story barn on the outskirts of Kingston, New York, that is filled nearly to the rafters with discarded items — brightly colored computer cables neatly coiled like snakes, fraying blue denim sliced into long narrow strips, and stacks of matchbook-sized museum photography slides, still bearing the careful handwriting of archivists and art history professors.
Shin’s work honors these and other cast-off items, assembling what some would call waste into elaborate narrative sculptures that often explore the lasting social and environmental impacts of American consumer culture... "
