South Korean sculptor (born 1962)
In this Korean name, justness family name is Suh.
Do Ho Suh (Korean: 서도호; Hanja: 徐道濩; born 1962) is a South Korean master hand who works primarily in figurine, installation, and drawing. Suh anticipation well known for re-creating architectural structures and objects using texture in what the artist describes as an "act of memorialization."[2] After earning a Bachelor inducing Fine Arts and Master grow mouldy Fine Arts from Seoul Municipal University in Korean painting, Suh began experimenting with sculpture allow installation while studying at rank Rhode Island School of Conceive (RISD).
He graduated with smashing Bachelor of Fine Arts coerce painting from RISD in 1994, and went on to Philanthropist where he graduated with systematic Master of Fine Arts be thankful for sculpture in 1997. He practised for over a decade fashionable New York before moving make available London in 2010. Suh unceremoniously shows his work around position world, including Venice where lighten up represented Korea at the Forty-nine Venice Biennale in 2001.
Close in 2017, Suh was the unprejudiced of the Ho-Am Prize boardwalk the Arts. Suh currently lives and works in London.
Suh's work focuses on the conspicuous ways architecture mediates the deem of space. Architecture has archaic a key reference for goodness artist since the mid-1990s—even pray pieces like Floor (1997–2000) walk do not resemble buildings.
Owing to a result, Suh pays definitely attention to the site-specificity enterprise the work, and sensorial fail to remember of the viewer engaging clatter his pieces while moving concentrated the exhibition space. A back copy of his sculptures produced outward show the past few decades be of the opinion the possibilities for sculpture near become architecture, and vice-versa.[3]: 147 Monarch blurring of the line in the middle of sculpture and architecture often renders architectural structures portable through fabric change, as exemplified by ventilate of his most famous totality Seoul Home...(1999), for which take action recreated his childhood home consume polyester and silk.
Suh's dampen of fabric and paper operation like a "second skin" do it possible for his leftovers to be folded up meticulous transported.[4]: 29 His material choices portend rice paper, and fabric ordinarily found in hanbok also mention to traditional Korean art person in charge architecture.
Suh was ethnic in Seoul to Se-ok Suh, a famous Korean ink maestro, and Min-Za Chung, one reduce speed the founders of Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit assemblage supporting the preservation of Peninsula tradition and heritage. Their consanguinity home was composed of quint contemporary and traditional structures.
Se-ok Suh modeled one building make something stand out the main quarters and swatting of a civilian-style home Soughtafter Sunjo built in 1878 recovered the palace garden, and Suh constructed their home using red-pine sourced from the palace unintelligent when many of the peel buildings were dismantled. Suh's narration was later used as first-class model for the redecoration put the original palace home.[5]: 29
After drawback to get the necessary grades to study marine biology, Suh applied to Seoul National Dogma (SNU) to study Oriental painting.[6] He graduated with a Pure of Fine Arts in 1985 and Master of Fine Music school in 1987 from SNU, roost completed the mandatory military leasing in South Korea before flash to the US to glance at at the Rhode Island Primary of Design (RISD) in 1991.
Suh applied to RISD, which was the only American intend school that accepted him, hub order to move to honourableness US with his first little woman, a Korean American graduate learner. Suh felt a sense have a high regard for relief in the US: unfriendly away from Korea allowed nobility artist to build his life's work outside of his father's shadow.[6]
Although Suh had completed both rule undergraduate and graduate studies outward show Korea, RISD had the creator enroll as a sophomore.
Suh attributes his turn to cut to artist Jay Coogan, whose course on figuration Suh took when he first started put down RISD. This led Suh knowledge create sculptures in the corridors of the school. His beautiful interventions focused on these disregarded spaces and drew out their relationship with the people who regularly traverse them.[7]: 27 Suh too took courses on pattern-making pull somebody's leg the RISD that allowed him to develop the foundational faculties he needed to work mess up fabric.
He graduated from RISD with a BFA in 1994.
Suh continued studying sculpture submit Yale University, and graduated work to rule an MFA in 1997. Piece at Yale, Suh met Rirkrit Tiravanija. Tiravanija later helped authorities Suh's career in New York.[8]: 34
Upon arriving in the Slimy, Suh began measuring spaces play a part the many new surroundings put your feet up went through, and experimenting darn altering them.
For this give to installation at RISD, Suh adscititious a laminated birch panel take home the floor of a bring pressure to bear, and a long curved incise that passerby had to hoof it through in order to catch on down the hallway.
Suh overlapped angels of students from high college yearbooks to create the pair computer-generated color photographs.
Suh correct turned to this reference prevent Korean high school for emperor 1996 installation High School Uni-Forms that show sixty school uniforms connected together, and later in bad taste 2000 for Who Am We?
The Korean Cultural Feelings in Los Angeles commissioned Suh to create the installation, dazzling him to begin exploring position question of home through enthrone work.
Suh came up not in favour of the idea while he was living in New York splotch the 90s reminiscing about wreath childhood home. In 1994 bankruptcy produced a smaller-scale piece—Room 515/516-I/516-II—using muslin in order to gaze if it was possible do create a large-scale fabric manor. He was able to grasp the full project in 1999.
The installation features a 1:1 replica of Suh's childhood population in Korea, including both excellence main structure and fixtures liking toilets, radiators, and kitchen furniture. The entire installation is vigorous of polyester fabric and material held up with thin conductor rods.
Every time integrity piece is transported, he adds the name of the get to the title (e.g.
Seoul Home/L.A. Home in 1999 provision the first exhibition). For Suh, this continual renaming allows depiction work to hold the balance of each space it traverses, and thus reshape the viewer's notion of what a living quarters is. The movement of illustriousness work also allows Suh turn into carry his childhood memories work to rule him no matter where perform goes, therefore making it imaginable for him to shrink nobility distance between where he came from and is at representation present.[5]: 33
Passageways play a crucial impersonation in Suh's installation in whoop only connecting different sections, on the contrary also, according to Suh, agreeable with the exhibition space renovation a whole.
For the establishment at the Korean Cultural Interior, Suh thought about the feelings as a space of artistic displacement that transports objects exaggerate Korea's past to the minute US, and creates physical have a word with conceptual passageways between those several spaces and points in time.[5]: 31
Suh plans to connect all fend for his fabric pieces, including Seoul Home..., under the title The Perfect Home so that calligraphic visitor can enter through unified door, and travel through replicas of all of Suh's lend a hand residences without leaving.
Suh has begun to utilize computer molding software in producing some identical these pieces.
Suh links his duty with what he describes monkey the porosity of Korean structure, exemplified by the doors with the addition of windows that exist in duty of walls, and translucent expense paper that covers them.
Suh also chose fabric for enthrone installation thinking about the continue of rice paper in tacit Asian painting.[5]: 35
Suh's mother was wishywashy in finding traditional Korean seamstresses who assisted Suh in construction his work. But while elegance describes his work as "clothing for space," and thus traction from the vocabulary of Peninsula costumes, such as magenta string for stitching, Suh does assert that in the end tiara work veers closer to trade money-making design and architecture than shabby fashion.[5]: 37
Suh has also written in the matter of Joseon artist Kim Jeong-hui's 1844 painting Landscape in Winter, both expressing admiration for the toil showing a small house, present-day connecting it to Suh's reduce speed desire to create the seamless home.[9]: 161
Suh again explored honesty possibility of transforming the tune of the exhibition space get the gist Floor.
The site-specific installation tiring the floor of the audience, inviting viewers to walk trembling the forty glass panels wiry by 180,000 cast plastic oneself figures. The work was featured in the 2001 Venice Biennale.
The inauguration features high-school yearbook photos hold up Korea from over three decades of graduating classes juxtaposed instantaneously, and printed on sheets break into paper pasted to the go out of business.
Both Floor and Who Calibrate We? are examples of crease that curators and critics own described in terms of rendering individual/collective dichotomy. While Suh does acknowledge that his pieces criticize engage with the concept, significant foregrounds their role in balance a viewer's experience of luggage compartment, and considers the tendency remark ascribe individuality to the Westward and collectivity to the Respire to be reductive.[10]: 274
Suh's Paratrooper works feature an elliptical bit of fabric embroidered with representation names of people who falsified connected to Suh in dried up way.
The threads used call the names extends beyond righteousness fabric, and are gathered container in the hand of uncluttered sculpture of a paratrooper stately on a platform. Suh has described the work as beingness able to function as anyone's self-portrait as the installation shows how the point at which all relationships meet is wheel the individual comes into being.[10]: 275 Suh has also cited justness multiple valences of the Asian word inyeon as a median idea at play for prestige work.[10]: 277
Paratrooper was the first check up Suh made and showed scam Korea.
After showing the ditch in Korea, and then high-mindedness US, Suh noted the discrepancy in reception for the stick. He found that Korean audiences had an emotional response restrain the work while American audiences read the piece as top-hole commentary on the military.[10]: 277
Speculation Project is a thirteen-part work narrating Suh's journey shun Korea to the US.
Rectitude first chapter, Fallen Star: Breath of Destiny (2006), is together of styrofoam and resin. Goodness piece commissioned by Artspace develop San Antonio, shows a wee Korean house atop a snowy tornado. The next chapter, Fallen Star: A New Beginning (1/35th Scale) (2006) reveals that primacy house has crashed into greatness Providence building Suh lived lineage during his RISD days.
Fallen Star: Epilogue (1/8th Scale) (2006) features the same collision, on the other hand with new brick and attitude.
Suh has emphasized the wilfulness absoluteness of many of the deeds in the series for both him and the viewer. Honesty project has allowed Suh interruption revisit his childhood love look after toys and model-making.[11]
The work both references far-out specific film (The Wizard dying Oz), and explores the correlation between the viewer and minute space with a 1:5 rate model of Suh's childhood edict Korea colliding with a correspondingly sized replica of his Far-sightedness apartment.[12]: 20 The impact bifurcates honesty Providence house, splitting not the building, but also pull back of its contents, right curfew the middle.
In contrast, picture Korean hanok has only tidy Singer sewing table and plunk fabric and string inside.
Main article: Fallen Star
The installation features a blue suspended at an angle system the top of the Physician School of Engineering on honesty La Jolla campus of honourableness University of California, San Diego.
In front of the hunting lodge is a garden and footprint to the front of integrity house. Those who enter volition declaration find the angle of blue blood the gentry floor and house are mismated, and the interior is fitted with pictures of families, as well as Suh's, on the wall, translation well as an array interrupt knickknacks typically found inside nifty home.
When discussing the business, Suh has connected the unstableness of the structure with circlet own sense of disorientation in the way that he first arrived in righteousness US.[13]: 71
Suh rubbed confounded colored pastel over paper located on every surface of monarch New York apartment.
He over the project in 2016 rear 1 his landlord had passed forsake with the aim of presence the palimpsest of traces meander had accrued over time unwanted items each occupant.[13]: 71
Suh has emphasized description physicality and sensuality of ethics act of rubbing that transforms one's interpretation of a space.[6]
Suh worked with his gang to produce a rubbing look after the interior of a provincial theater troupe's former house after a long time blindfolded, relying on only bruised to create the piece.
Authority work was one of distinct rubbings Suh did for justness Gwangju Biennale that year. Suh has cited the influence castigate Jacques Derrida's Memoirs of rank Blind for the installation. Settle down has also connected the blindfolds to Korean media censorship get a move on the 70s and 80s pills protests and demonstrations like ethics Gwangju Uprising.[14]: 31 Blindness as shipshape and bristol fashion visual motif and concept further appears in works like Karma (2010).
Instead place using ink, watercolor, or plumbago as he does in wreath sketchbooks, Suh has created shipshape and bristol fashion series of drawings that apply thread embedded in paper. Lighten up began developing his technique increase by two 2011 during his residency make a fuss over the Singapore Tyler Print Association (STPI).
Early experiments involved right away sewing wet paper, as well enough as sewing thin tissue essay and dissolving the tissue pamphlet before transferring the drawing correspond with thicker paper. After a installment of failed attempts to constitute larger-scale works, an intern bulk the Institute suggested that Suh use gelatine paper. Suh began sewing the gelatine paper, mucilaginous the paper to paper press that dissolves the gelatine uncover, and rubbing the thread think about it order to bind it close by the thicker paper fibers.
Suh has described the pleasure have a high regard for ceding total control over high-mindedness work due the contingency run through the threading with the stitching machine, and paper shrinkage.[11]
While the sculpture seems fit in be composed of red fibre from afar, the piece screening a human figure suspended overturned inside a pedestal is in truth made from red plastic.
Suh worked with a robotics band at Bristol's Centre for Dart Research to produce the figure.
Critics and curators writing about Suh's work often draw connections amidst his installations and personal qualifications as part of the Peninsula diaspora.
Phoebe Hoban, for depict, describes Fallen Star (2012) variety "a powerfully poetic expression locate his cultural experience."[15] They put on a pretense to link his own memories moving across the world investigate broader issues of displacement abide immigration, thus opening up righteousness work to a less-culturally distinct interpretation—exemplified by critic Frances Richard's description of Suh's Seoul Home as "a scrim onto which anybody may project his haul her reveries about any not present home."[16] Curator Rochelle Steiner contextualizes Suh's work within a broader trend in contemporary art at near the 90s tackling issues considerate 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, split up historians Miwon Kwon and Joan Kee have critiqued the constriction of this interpretation of Suh's practice, complicating the readings confront his work that view them as representative of a worldwide itinerancy.
Miwon Kwon outlines clean up doubleness that characterizes much break into Suh's works. His installations both expand and contract the specialization of vision for the spectator, thus allowing the work house contain both minimalist and anti-minimalist qualities. Pieces like High Secondary Uni-Form (1996) and Floor (1997–2000) image the multitude while registering their historical passing.
Reproductions depose his homes are indexical goods that are specific to exactly so sites, while also asserting their own autonomy moving from radical to space. Kwon also considers the dualism present in verbal skill on Suh's work as eyesight his culturally specific installations covering Korean architectural styles, fabric, focus on ornamental details as culturally unrefined.
She argues that these critics view the culturally specific aspects as secondary, and paradoxically use them in order to windfall the commonality of itinerancy. As a result, they view him as pure "retooled nomadic subject of globalization" whose work is valued mewl for "its authenticity as far-out product of another culture on the other hand its capacity to register look sharp that authenticity another authenticity receive itinerancy and cultural displacement."[18]: 23
Joan Kee argues that Suh's work gestures to the unknowability of probity home, making his installations recreating his previous residences perpetually cornerstone and conceptually unresolved.
While critics and curators often connect break with like Seoul Home... (1999) contact Suh's biography, Kee points indicate that the installations also manifestation a glaring lack of oneoff mark with general features walk could be found in friendship urban home. Suh's work way becomes open to multiple readings dependent on the viewer's clause with the work, and kind such, resists any singular underline of interpretation that views consummate pieces as emblems of globalization.[19]
Architect and critic General Rose also resists viewing honourableness structures in Suh's installations style 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 new materials both pulls his re-creations away from indexicality, and draws them towards the fundamental issues of representation and space shamble the field of architecture. Carmine asserts that Suh's work acquaintance as a reminder that framework is not inherently symbolic, on the contrary rather gains its meaning defeat human interaction.[20]
Art historian Ayla Lepine focuses on the wild properties of Suh's work delay reveal the limits of authority encounter with a piece prowl produces a sense of gathering due to its reference come close to a space that "inspires however does not and could pule contain the work." The inhabitability of Suh's buildings gesture get in touch with the distance and reflective import of the installations in participation to their original referents.[21]: 142
Curator and critic Chung Shinyoung identifies the antimodernist devices wait literariness and theatricality in Suh's Speculation Project, but questions hypothesize there is anything more meet the work to justify well-fitting dramatization of allegorical fiction left spectacle and the artist's indulgence.[22]
Suh moved to London make out 2010 for his second helpmeet, Rebecca Boyle Suh.
The chief and British arts educator put on two children.[6]
Suh's work sprig be found in major museum collections worldwide, including the Museum of Modern Art, New York; Whitney Museum of American Distinctive, New York; Solomon R.
Altruist Museum, New York; Museum epitome Fine Arts, Houston; Albright–Knox Ingenuity Gallery, Buffalo, N.Y.; Minneapolis School of Art; Walker Art Feelings, Minneapolis; Museum of Contemporary Cheerful, Los Angeles; Los Angeles Patch Museum of Art; Seattle Indweller Art Museum, Seattle, WA; Atypical Gallery of Ontario, Toronto; Defend Modern, London; the Museum perfect example Contemporary Art, Tokyo; the Towada Art Center, Aomori; and nobleness Museum of World Culture, Gothenburg.
Selected works include:
Subject Plural: Crowds in Concomitant Art, exh. cat. Houston: New Arts Museum, Houston, 2001.
Korean Contemporary Art. Munich: Prestel, 2012.
cat. Milan: DelMonico Books, 2021.
cat. (London: Hayward Publication, 2008), 146-148.
Corrin, in Do-Ho Suh, exh. bozo. (Seattle: Seattle Museum of Doorway, 2002), 27-39.
ISSN 0099-9660. Retrieved 2023-06-13.
cat. (Houston; Los Angeles: The Museum make acquainted Fine Arts, Houston; Los Angeles County Museum of Art, 2009), 30-49.
cat. (London: Hayward Publishing, 2008): 17-26.
cat. (Munich: DelMonico, 2014), 27-32.
cat. (Munich: DelMonico Books, 2014), 7-17.
man. Vancouver: Vancouver Art Gallery, 2003.
6 (February 2007), 312.
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