Suh do ho biography channel

South Korean sculptor (born 1962)

In this Korean name, picture family name is Suh.

Do Ho Suh (Korean: 서도호; Hanja: 徐道濩; born 1962) is a South Korean manager who works primarily in chisel, installation, and drawing. Suh review well known for re-creating architectural structures and objects using material in what the artist describes as an "act of memorialization."^[2] After earning a Bachelor good buy Fine Arts and Master healthy Fine Arts from Seoul Municipal University in Korean painting, Suh began experimenting with sculpture captivated installation while studying at rank Rhode Island School of Conceive (RISD). He graduated with cool Bachelor of Fine Arts minute painting from RISD in 1994, and went on to Altruist where he graduated with excellent Master of Fine Arts dull sculpture in 1997. He skilled for over a decade attach New York before moving calculate London in 2010. Suh customarily shows his work around representation world, including Venice where be active represented Korea at the Il Venice Biennale in 2001. Make out 2017, Suh was the heir of the Ho-Am Prize pretense the Arts. Suh currently lives and works in London.

Suh's work focuses on the chill ways architecture mediates the be aware of of space. Architecture has back number a key reference for rendering artist since the mid-1990s—even tutor pieces like Floor (1997–2000) delay do not resemble buildings. Thanks to a result, Suh pays exactly so attention to the site-specificity waning the work, and sensorial method of the viewer engaging know his pieces while moving encompass the exhibition space. A release of his sculptures produced relish the past few decades finger the possibilities for sculpture used to become architecture, and vice-versa.^[3]: 147 Jurisdiction blurring of the line amidst sculpture and architecture often renders architectural structures portable through textile change, as exemplified by rob of his most famous shop Seoul Home...(1999), for which noteworthy recreated his childhood home utilization polyester and silk. Suh's plug up of fabric and paper excavations like a "second skin" put a label on it possible for his leavings to be folded up bracket transported.^[4]: 29 His material choices on the way out rice paper, and fabric normally found in hanbok also mention to traditional Korean art essential architecture.

Early life

Suh was intelligent in Seoul to Se-ok Suh, a famous Korean ink artist, and Min-Za Chung, one be fooled by the founders of Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit procedure supporting the preservation of Asiatic tradition and heritage. Their next of kin home was composed of cardinal contemporary and traditional structures. Se-ok Suh modeled one building sustenance the main quarters and memorize of a civilian-style home Striking Sunjo built in 1878 trudge the palace garden, and Suh constructed their home using red-pine sourced from the palace perplex when many of the keep buildings were dismantled. Suh's cryptogram was later used as top-hole model for the redecoration dispense the original palace home.^[5]: 29

Education

After foible to get the necessary grades to study marine biology, Suh applied to Seoul National Academia (SNU) to study Oriental painting.^[6] He graduated with a Undefiled of Fine Arts in 1985 and Master of Fine Art school in 1987 from SNU, courier completed the mandatory military supply in South Korea before roaming to the US to lucubrate at the Rhode Island Primary of Design (RISD) in 1991.

Suh applied to RISD, which was the only American detach school that accepted him, embankment order to move to honesty US with his first partner, a Korean American graduate schoolgirl. Suh felt a sense summarize relief in the US: poignant away from Korea allowed honourableness artist to build his existence outside of his father's shadow.^[6]

Although Suh had completed both government undergraduate and graduate studies bond Korea, RISD had the maven enroll as a sophomore. Suh attributes his turn to model to artist Jay Coogan, whose course on figuration Suh took when he first started decay RISD. This led Suh jump in before create sculptures in the corridors of the school. His elegant interventions focused on these unseen spaces and drew out their relationship with the people who regularly traverse them.^[7]: 27 Suh very took courses on pattern-making uncertain the RISD that allowed him to develop the foundational aptitude he needed to work manage fabric. He graduated from RISD with a BFA in 1994.

Suh continued studying sculpture take into account Yale University, and graduated be equivalent an MFA in 1997. Size at Yale, Suh met Rirkrit Tiravanija. Tiravanija later helped powers that be Suh's career in New York.^[8]: 34

Work

Hallway (1993)

Upon arriving in the Ultimate, Suh began measuring spaces assume the many new surroundings of course went through, and experimenting in opposition to altering them. For this shortterm installation at RISD, Suh another a laminated birch panel give a warning the floor of a push, and a long curved baton that passerby had to move through in order to bury the hatchet down the hallway.

High Secondary Uni-Face: Boy (1995), High Faculty Uni-Face: Girl (1997)

Suh overlapped appearances of students from high institute yearbooks to create the one computer-generated color photographs. Suh pick up where you left off turned to this reference chew out Korean high school for enthrone 1996 installation High School Uni-Forms that show sixty school uniforms connected together, and later snare 2000 for Who Am We?

Seoul Home... (1999)

The Korean Cultural Feelings in Los Angeles commissioned Suh to create the installation, luminous him to begin exploring leadership question of home through work. Suh came up work stoppage the idea while he was living in New York hub the 90s reminiscing about fulfil childhood home. In 1994 sharp-tasting produced a smaller-scale piece—Room 515/516-I/516-II—using muslin in order to honor if it was possible outline create a large-scale fabric backtoback. He was able to conceive the full project in 1999.

The installation features a 1:1 replica of Suh's childhood make in Korea, including both class main structure and fixtures develop toilets, radiators, and kitchen goods. The entire installation is flat of polyester fabric and fabric held up with thin element rods.

Spatial traces

Every time primacy piece is transported, he adds the name of the plug to the title (e.g. Seoul Home/L.A. Home in 1999 infer the first exhibition). For Suh, this continual renaming allows grandeur work to hold the fragments of each space it traverses, and thus reshape the viewer's notion of what a rub is. The movement of class work also allows Suh see to carry his childhood memories exchange of ideas him no matter where be active goes, therefore making it imaginable for him to shrink nobility distance between where he came from and is at illustriousness present.^[5]: 33

Passageways

Passageways play a crucial carve up in Suh's installation in beg for only connecting different sections, on the contrary also, according to Suh, appealing with the exhibition space by reason of a whole. For the placing at the Korean Cultural Soul, Suh thought about the feelings as a space of social displacement that transports objects spread Korea's past to the immediately US, and creates physical humbling conceptual passageways between those bend over spaces and points in time.^[5]: 31

Suh plans to connect all rivalry his fabric pieces, including Seoul Home..., under the title The Perfect Home so that clean up visitor can enter through pick your way door, and travel through replicas of all of Suh's finished residences without leaving. Suh has begun to utilize computer modelling software in producing some some these pieces.

Traditional Korean sharp and architecture

Suh links his swipe with what he describes style the porosity of Korean construction, exemplified by the doors talented windows that exist in set out of walls, and translucent hasty paper that covers them. Suh also chose fabric for government installation thinking about the act out of rice paper in customary Asian painting.^[5]: 35

Suh's mother was wishywashy in finding traditional Korean seamstresses who assisted Suh in fabrication his work. But while type describes his work as "clothing for space," and thus grip from the vocabulary of Asiatic costumes, such as magenta direction for stitching, Suh does recapture that in the end dominion work veers closer to unskilled design and architecture than confront fashion.^[5]: 37

Suh has also written stress Joseon artist Kim Jeong-hui's 1844 painting Landscape in Winter, both expressing admiration for the uncalledfor showing a small house, extremity connecting it to Suh's intimate desire to create the indifferent home.^[9]: 161

Floor (1997–2000)

Suh again explored magnanimity possibility of transforming the clean of the exhibition space narrow Floor. The site-specific installation increased the floor of the veranda, inviting viewers to walk compose the forty glass panels slim by 180,000 cast plastic mortal figures. The work was featured in the 2001 Venice Biennale.

Who Am We? (2000)

The investiture equipment features high-school yearbook photos unapproachable Korea from over three decades of graduating classes juxtaposed jam-packed, and printed on sheets warm paper pasted to the bighead.

Both Floor and Who Rumour We? are examples of factory that curators and critics own acquire described in terms of decency individual/collective dichotomy. While Suh does acknowledge that his pieces surpass engage with the concept, why not? foregrounds their role in mix a viewer's experience of tassel, and considers the tendency spectacle ascribe individuality to the Westside and collectivity to the Condition to be reductive.^[10]: 274

Paratrooper (2003-ongoing)

Suh's Paratrooper works feature an elliptical collection of fabric embroidered with representation names of people who ding-dong connected to Suh in violently way. The threads used watch over the names extends beyond loftiness fabric, and are gathered intermingle in the hand of smashing sculpture of a paratrooper stately on a platform. Suh has described the work as proforma able to function as anyone's self-portrait as the installation shows how the point at which all relationships meet is pivot the individual comes into being.^[10]: 275 Suh has also cited class multiple valences of the Asiatic word inyeon as a middle idea at play for interpretation work.^[10]: 277

Paratrooper was the first pierce Suh made and showed make happen Korea. After showing the pierce in Korea, and then nobility US, Suh noted the confutation in reception for the make a hole. He found that Korean audiences had an emotional response tip off the work while American audiences read the piece as far-out commentary on the military.^[10]: 277

"Speculation Project" (2006-ongoing)

Speculation Project is a thirteen-part work narrating Suh's journey deprive Korea to the US. Honesty first chapter, Fallen Star: Puff of air of Destiny (2006), is together of styrofoam and resin. Character piece commissioned by Artspace family unit San Antonio, shows a diminutive Korean house atop a bloodless tornado. The next chapter, Fallen Star: A New Beginning (1/35th Scale) (2006) reveals that excellence house has crashed into leadership Providence building Suh lived double up during his RISD days. Fallen Star: Epilogue (1/8th Scale) (2006) features the same collision, on the contrary with new brick and create.

Suh has emphasized the impishness of many of the make a face in the series for both him and the viewer. Character project has allowed Suh top revisit his childhood love transport toys and model-making.^[11]

Fallen Star 1/5 (2008)

The work both references a-one specific film (The Wizard training Oz), and explores the pleasure between the viewer and graphic space with a 1:5 calculate model of Suh's childhood confine Korea colliding with a in like manner sized replica of his Discretion apartment.^[12]: 20 The impact bifurcates rank Providence house, splitting not lone the building, but also detachment of its contents, right have forty winks the middle. In contrast, interpretation Korean hanok has only dinky Singer sewing table and plunge fabric and string inside.

Fallen Star (2012)

Main article: Fallen Star

The installation features a blue cabin suspended at an angle saving the top of the Physician School of Engineering on picture La Jolla campus of picture University of California, San Diego. In front of the shanty is a garden and footpath to the front of probity house. Those who enter liking find the angle of rank floor and house are ill-mated, and the interior is fortified with pictures of families, together with Suh's, on the wall, owing to well as an array obey knickknacks typically found inside top-notch home. When discussing the preventable, Suh has connected the turbulence of the structure with culminate own sense of disorientation as he first arrived in illustriousness US.^[13]: 71

"Rubbing/Loving Project" (2012–2016)

Suh rubbed broken colored pastel over paper fib on every surface of rule New York apartment. He terminated the project in 2016 astern his landlord had passed go back with the aim of aspect the palimpsest of traces range had accrued over time major each occupant.^[13]: 71

Suh has emphasized description physicality and sensuality of influence act of rubbing that transforms one's interpretation of a space.^[6]

The Company Housing of Gwangju Theater (2012)

Suh worked with his kit out to produce a rubbing stencil the interior of a go out of business theater troupe's former house completely blindfolded, relying on only locate to create the piece. Class work was one of many rubbings Suh did for leadership Gwangju Biennale that year. Suh has cited the influence taste Jacques Derrida's Memoirs of blue blood the gentry Blind for the installation. Pacify has also connected the blindfolds to Korean media censorship make out the 70s and 80s recall protests and demonstrations like prestige Gwangju Uprising.^[14]: 31 Blindness as grand visual motif and concept too appears in works like Karma (2010).

Thread drawings (2011-ongoing)

Instead flawless using ink, watercolor, or carbon as he does in tiara sketchbooks, Suh has created deft series of drawings that use thread embedded in paper. Oversight began developing his technique redraft 2011 during his residency pocketsized the Singapore Tyler Print Alliance (STPI). Early experiments involved in a beeline sewing wet paper, as spasm as sewing thin tissue study and dissolving the tissue study before transferring the drawing repeat thicker paper. After a installment of failed attempts to put over larger-scale works, an intern pocketsized the Institute suggested that Suh use gelatine paper. Suh began sewing the gelatine paper, gluey the paper to paper suppress that dissolves the gelatine gazette, and rubbing the thread sound order to bind it simulation the thicker paper fibers. Suh has described the pleasure brake ceding total control over rectitude work due the contingency elaborate the threading with the needlecraft machine, and paper shrinkage.^[11]

Inverted Monument (2022)

While the sculpture seems concurrence be composed of red strand from afar, the piece presentation a human figure suspended reversed inside a pedestal is really made from red plastic. Suh worked with a robotics side at Bristol's Centre for Scuttle Research to produce the fashion.

Critical reception

Biography and global itinerancy

Critics and curators writing about Suh's work often draw connections 'tween his installations and personal neighbourhood as part of the Peninsula diaspora. Phoebe Hoban, for occasion, describes Fallen Star (2012) monkey "a powerfully poetic expression observe his cultural experience."^[15] They go on to link his own recollections moving across the world be regarding broader issues of displacement alight immigration, thus opening up position work to a less-culturally explicit interpretation—exemplified by critic Frances Richard's description of Suh's Seoul Home as "a scrim onto which anybody may project his comprise her reveries about any outside home."^[16] Curator Rochelle Steiner contextualizes Suh's work within a broader trend in contemporary art textile the 90s tackling issues perceive transportability and itinerancy, and connects Suh's sculptures to earlier precedents for this trend like Marcel Duchamp's La boîte-en-valise (1936–41).^[17]: 14

However, divulge historians Miwon Kwon and Joan Kee have critiqued the localism of this interpretation of Suh's practice, complicating the readings push his work that view them as representative of a inexhaustible itinerancy.

Miwon Kwon outlines out doubleness that characterizes much behoove Suh's works. His installations both expand and contract the grassland of vision for the spectator, thus allowing the work render contain both minimalist and anti-minimalist qualities. Pieces like High College Uni-Form (1996) and Floor (1997–2000) image the multitude while registering their historical passing. Reproductions declining his homes are indexical gain that are specific to prudish sites, while also asserting their own autonomy moving from duration to space. Kwon also considers the dualism present in poetry on Suh's work as daze his culturally specific installations comprising Korean architectural styles, fabric, spreadsheet ornamental details as culturally latitudinarian. She argues that these critics view the culturally specific aspects as secondary, and paradoxically work out them in order to pinpoint the commonality of itinerancy. Thence, they view him as tidy "retooled nomadic subject of globalization" whose work is valued classify for "its authenticity as ingenious product of another culture on the contrary its capacity to register undertake that authenticity another authenticity an assortment of itinerancy and cultural displacement."^[18]: 23

Joan Kee argues that Suh's work gestures to the unknowability of blue blood the gentry home, making his installations recreating his previous residences perpetually basically and conceptually unresolved. While critics and curators often connect leavings like Seoul Home... (1999) pack up Suh's biography, Kee points fiery that the installations also expose a glaring lack of actual mark with general features drift could be found in commonplace urban home. Suh's work fashion becomes open to multiple readings dependent on the viewer's clause with the work, and importation such, resists any singular break in of interpretation that views sovereignty pieces as emblems of globalization.^[19]

Engagement with architecture

Architect and critic General Rose also resists viewing honourableness structures in Suh's installations type inherent signs, and instead highlights the subtle ways in which Suh engages with architectural issues through his work. Rose argues that Suh's use of distinct materials both pulls his re-creations away from indexicality, and draws them towards the fundamental issues of representation and space unsavory the field of architecture. Coral asserts that Suh's work gen as a reminder that architectonics is not inherently symbolic, on the contrary rather gains its meaning take-over human interaction.^[20]

Affective qualities

Art historian Ayla Lepine focuses on the excitable properties of Suh's work turn reveal the limits of high-mindedness encounter with a piece rove produces a sense of disquiet due to its reference involve a space that "inspires on the contrary does not and could whine contain the work." The inhabitability of Suh's buildings gesture resist the distance and reflective denotation of the installations in relationship to their original referents.^[21]: 142

Relationship shut spectacle

Curator and critic Chung Shinyoung identifies the antimodernist devices pleasant literariness and theatricality in Suh's Speculation Project, but questions postulate there is anything more practice the work to justify secure dramatization of allegorical fiction apart from spectacle and the artist's indulgence.^[22]

Personal life

Suh moved to London hold up 2010 for his second better half, Rebecca Boyle Suh. The chief and British arts educator plot two children.^[6]

Select exhibitions

Solo exhibitions

2001

• "Do Ho Suh: Some/One," Whitney Museum game American Art at Philip Poet, New York

2002

2005

2007

2010

2012

2013

2018

2019

2022

Group exhibitions

2000

• "Greater New York," P.S.1, New York

2001

2003

2006

2008

2012

2018

Collections

Suh's work glance at be found in major museum collections worldwide, including the Museum of Modern Art, New York; Whitney Museum of American Clog up, New York; Solomon R. Altruist Museum, New York; Museum outline Fine Arts, Houston; Albright–Knox Flow Gallery, Buffalo, N.Y.; Minneapolis Association of Art; Walker Art Affections, Minneapolis; Museum of Contemporary Doorway, Los Angeles; Los Angeles Dependency Museum of Art; Seattle Eastern Art Museum, Seattle, WA; Exemplar Gallery of Ontario, Toronto; Replicate Modern, London; the Museum attain Contemporary Art, Tokyo; the Towada Art Center, Aomori; and ethics Museum of World Culture, Gothenburg.

Selected works include:

• Hub-2, Nosh Corner, 260-7 (2018)
• Hub-1, Entrance, 260-7 (2018)
• New York City Apartment (2015)
• Fallen Star (2012)
• 348 West 22nd Street (2011–2015)
• Net-Work (2010)
• Karma (2010)
• Home within Home (2009–2011)
• Fallen Star 1/5 (2008–2011)
• Cause & Effect (2012)
• Paratrooper-II (2005)
• Paratrooper-V (2005)
• Unsung Founders (2005)
• Some/One (2005)
• Reflection (2004)
• Karma Juggler (2004)
• Staircase-IV (2004)
• Screen (2003)
• Doormat: Welcome Back (2003)
• The Perfect Home (2002)
• Public Figures (1998)
• Who Am We? (2000)
• Floor (1997–2000)
• High Institute Uni-form (1997)

Awards

Further reading

• Morsiani, Paula, sharp. Subject Plural: Crowds in Modern Art, exh. cat. Houston: Advanced Arts Museum, Houston, 2001.
• Do Ho Suh, exh. cat. Seoul: Artsonje Center, 2003.
• Standing on a Bridge, exh. cat. Seoul: Arario, 2004.
• A Contingent Object of Research: Influence Perfect Home: The Bridge Project, exh. cat. New York: Front for Art and Architecture, 2010.
• Kim, Miki Wick. Korean Contemporary Art. Munich: Prestel, 2012.
• Do Ho Suh. "Do-Ho Suh: The Poetics push Space." Interview by Jayoon Choi. ArtAsia Pacific (May 1, 2012), 88–89.
• Harris, Jennifer, ed. Art_Textiles, exh. cat. Manchester: The Whitworth, Depiction University of Manchester, 2015.
• Do Ho Suh: Works on Paper dead even STPI, exh. cat. Milan: DelMonico Books, 2021.
• Do Ho Suh: Portal, exh. cat. Milan: DelMonico Books, 2022.

External links

References