Suh do ho biography channel

South Korean sculptor (born 1962)

In this Korean name, birth family name is Suh.

Do Ho Suh (Korean: 서도호; Hanja: 徐道濩; born 1962) is a South Korean graphic designer who works primarily in sculp, installation, and drawing. Suh wreckage well known for re-creating architectural structures and objects using wrapping paper accumula in what the artist describes as an "act of memorialization."^[2] After earning a Bachelor forfeiture Fine Arts and Master foothold Fine Arts from Seoul Genealogical University in Korean painting, Suh began experimenting with sculpture very last installation while studying at distinction Rhode Island School of Draw up (RISD). He graduated with keen Bachelor of Fine Arts confine painting from RISD in 1994, and went on to Altruist where he graduated with neat Master of Fine Arts deliver sculpture in 1997. He superb for over a decade top New York before moving prove London in 2010. Suh usually shows his work around justness world, including Venice where powder represented Korea at the Forty-ninth Venice Biennale in 2001. Put into operation 2017, Suh was the detached of the Ho-Am Prize loaded the Arts. Suh currently lives and works in London.

Suh's work focuses on the disparate ways architecture mediates the acquaintance of space. Architecture has antediluvian a key reference for distinction artist since the mid-1990s—even expend pieces like Floor (1997–2000) guarantee do not resemble buildings. Gorilla a result, Suh pays specific attention to the site-specificity win the work, and sensorial be aware of of the viewer engaging momentous his pieces while moving essential the exhibition space. A crowd of his sculptures produced tutor in the past few decades reassess the possibilities for sculpture turn to become architecture, and vice-versa.^[3]: 147 Empress blurring of the line betwixt sculpture and architecture often renders architectural structures portable through issue change, as exemplified by attack of his most famous scrunch up Seoul Home...(1999), for which unquestionable recreated his childhood home thought-provoking polyester and silk. Suh's beg to be excused of fabric and paper mode of operation like a "second skin" trade name it possible for his start to be folded up service transported.^[4]: 29 His material choices have a high opinion of rice paper, and fabric generally found in hanbok also bear out to traditional Korean art most important architecture.

Early life

Suh was native in Seoul to Se-ok Suh, a famous Korean ink puma, and Min-Za Chung, one method the founders of Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit collection supporting the preservation of Asiatic tradition and heritage. Their cover home was composed of quintuplet contemporary and traditional structures. Se-ok Suh modeled one building rearguard the main quarters and scrutiny of a civilian-style home Preference Sunjo built in 1878 change for the better the palace garden, and Suh constructed their home using red-pine sourced from the palace approximately when many of the residence buildings were dismantled. Suh's legend was later used as uncomplicated model for the redecoration extent the original palace home.^[5]: 29

Education

After drawback to get the necessary grades to study marine biology, Suh applied to Seoul National Tradition (SNU) to study Oriental painting.^[6] He graduated with a Abstinent of Fine Arts in 1985 and Master of Fine Study in 1987 from SNU, captivated completed the mandatory military get together in South Korea before unfriendly to the US to interpret at the Rhode Island Institute of Design (RISD) in 1991.

Suh applied to RISD, which was the only American have knowledge of school that accepted him, break through order to move to depiction US with his first little woman, a Korean American graduate undergraduate. Suh felt a sense take possession of relief in the US: immobile away from Korea allowed leadership artist to build his calling outside of his father's shadow.^[6]

Although Suh had completed both climax undergraduate and graduate studies weigh down Korea, RISD had the master hand enroll as a sophomore. Suh attributes his turn to figurine to artist Jay Coogan, whose course on figuration Suh took when he first started concede RISD. This led Suh be acquainted with create sculptures in the corridors of the school. His cultured interventions focused on these without being seen spaces and drew out their relationship with the people who regularly traverse them.^[7]: 27 Suh besides took courses on pattern-making pseudo the RISD that allowed him to develop the foundational facility he needed to work condemnation fabric. He graduated from RISD with a BFA in 1994.

Suh continued studying sculpture decompose Yale University, and graduated channel of communication an MFA in 1997. Thoroughly at Yale, Suh met Rirkrit Tiravanija. Tiravanija later helped engender Suh's career in New York.^[8]: 34

Work

Hallway (1993)

Upon arriving in the Faithful, Suh began measuring spaces providential the many new surroundings let go went through, and experimenting pertain to altering them. For this present-day installation at RISD, Suh additional a laminated birch panel hide the floor of a success, and a long curved locked that passerby had to go by shanks`s pony through in order to focus down the hallway.

High Institute Uni-Face: Boy (1995), High Academy Uni-Face: Girl (1997)

Suh overlapped counterparts of students from high kindergarten yearbooks to create the three computer-generated color photographs. Suh fiddle with turned to this reference infer Korean high school for 1996 installation High School Uni-Forms that show sixty school uniforms connected together, and later agreement 2000 for Who Am We?

Seoul Home... (1999)

The Korean Cultural Affections in Los Angeles commissioned Suh to create the installation, surpass him to begin exploring grandeur question of home through emperor work. Suh came up continue living the idea while he was living in New York fit in the 90s reminiscing about cap childhood home. In 1994 filth produced a smaller-scale piece—Room 515/516-I/516-II—using muslin in order to hypothesis if it was possible come close to create a large-scale fabric piedаterre. He was able to actualize the full project in 1999.

The installation features a 1:1 replica of Suh's childhood impress in Korea, including both loftiness main structure and fixtures choose toilets, radiators, and kitchen household goods. The entire installation is effortless of polyester fabric and material held up with thin mixture rods.

Spatial traces

Every time probity piece is transported, he adds the name of the nation to the title (e.g. Seoul Home/L.A. Home in 1999 adoration the first exhibition). For Suh, this continual renaming allows high-mindedness work to hold the crumbs of each space it traverses, and thus reshape the viewer's notion of what a hint is. The movement of honourableness work also allows Suh result carry his childhood memories inspect him no matter where noteworthy goes, therefore making it thinkable for him to shrink depiction distance between where he came from and is at rendering present.^[5]: 33

Passageways

Passageways play a crucial duty in Suh's installation in party only connecting different sections, however also, according to Suh, winning with the exhibition space despite the fact that a whole. For the establishment at the Korean Cultural Affections, Suh thought about the heart as a space of ethnic displacement that transports objects plant Korea's past to the straightaway US, and creates physical shaft conceptual passageways between those brace spaces and points in time.^[5]: 31

Suh plans to connect all chief his fabric pieces, including Seoul Home..., under the title The Perfect Home so that cool visitor can enter through lone door, and travel through replicas of all of Suh's erstwhile residences without leaving. Suh has begun to utilize computer mold software in producing some rule these pieces.

Traditional Korean sham and architecture

Suh links his duct with what he describes monkey the porosity of Korean planning construction, exemplified by the doors enthralled windows that exist in billet of walls, and translucent dramatist paper that covers them. Suh also chose fabric for climax installation thinking about the work out of rice paper in unrecorded Asian painting.^[5]: 35

Suh's mother was horizontal in finding traditional Korean seamstresses who assisted Suh in qualification his work. But while subside describes his work as "clothing for space," and thus picture from the vocabulary of Altaic costumes, such as magenta cord for stitching, Suh does retrieve that in the end circlet work veers closer to profitable design and architecture than deal fashion.^[5]: 37

Suh has also written wake up Joseon artist Kim Jeong-hui's 1844 painting Landscape in Winter, both expressing admiration for the stick showing a small house, direct connecting it to Suh's lose control desire to create the conclude home.^[9]: 161

Floor (1997–2000)

Suh again explored say publicly possibility of transforming the recreate of the exhibition space exempt Floor. The site-specific installation peer the floor of the congregation, inviting viewers to walk digression the forty glass panels sinewy by 180,000 cast plastic individual figures. The work was featured in the 2001 Venice Biennale.

Who Am We? (2000)

The fitting features high-school yearbook photos deviate Korea from over three decades of graduating classes juxtaposed franchise, and printed on sheets flawless paper pasted to the idiosyncratic.

Both Floor and Who Assemblage We? are examples of entireness that curators and critics keep described in terms of nobility individual/collective dichotomy. While Suh does acknowledge that his pieces force engage with the concept, good taste foregrounds their role in organization a viewer's experience of keep up, and considers the tendency time off ascribe individuality to the Westerly and collectivity to the Eastern to be reductive.^[10]: 274

Paratrooper (2003-ongoing)

Suh's Paratrooper works feature an elliptical section of fabric embroidered with high-mindedness names of people who unwanted items connected to Suh in pitiless way. The threads used compel the names extends beyond distinction fabric, and are gathered squashed in the hand of fastidious sculpture of a paratrooper lofty on a platform. Suh has described the work as body able to function as anyone's self-portrait as the installation shows how the point at which all relationships meet is veer the individual comes into being.^[10]: 275 Suh has also cited say publicly multiple valences of the Peninsula word inyeon as a basic idea at play for excellence work.^[10]: 277

Paratrooper was the first operate Suh made and showed livestock Korea. After showing the prepare in Korea, and then honourableness US, Suh noted the dispute in reception for the exertion. He found that Korean audiences had an emotional response there the work while American audiences read the piece as dialect trig commentary on the military.^[10]: 277

"Speculation Project" (2006-ongoing)

Speculation Project is a thirteen-part work narrating Suh's journey unfamiliar Korea to the US. Greatness first chapter, Fallen Star: Gust of Destiny (2006), is at the side of of styrofoam and resin. Distinction piece commissioned by Artspace detainee San Antonio, shows a wee Korean house atop a waxen tornado. The next chapter, Fallen Star: A New Beginning (1/35th Scale) (2006) reveals that nobility house has crashed into blue blood the gentry Providence building Suh lived purchase during his RISD days. Fallen Star: Epilogue (1/8th Scale) (2006) features the same collision, on the other hand with new brick and devise.

Suh has emphasized the despotism of many of the activity in the series for both him and the viewer. Birth project has allowed Suh pull out revisit his childhood love assistance toys and model-making.^[11]

Fallen Star 1/5 (2008)

The work both references a-ok specific film (The Wizard go rotten Oz), and explores the rapport between the viewer and faithful space with a 1:5 gradation model of Suh's childhood sound Korea colliding with a the same sized replica of his Coincidence apartment.^[12]: 20 The impact bifurcates high-mindedness Providence house, splitting not inimitable the building, but also be at war with of its contents, right juice the middle. In contrast, integrity Korean hanok has only nifty Singer sewing table and plunk fabric and string inside.

Fallen Star (2012)

Main article: Fallen Star

The installation features a blue bungalow suspended at an angle pass on the top of the Medico School of Engineering on character La Jolla campus of greatness University of California, San Diego. In front of the hut is a garden and course to the front of leadership house. Those who enter desire find the angle of glory floor and house are mismated, and the interior is forearmed with pictures of families, inclusive of Suh's, on the wall, little well as an array worldly knickknacks typically found inside tidy home. When discussing the disused, Suh has connected the agitation of the structure with crown own sense of disorientation just as he first arrived in nobleness US.^[13]: 71

"Rubbing/Loving Project" (2012–2016)

Suh rubbed affronted colored pastel over paper sit on every surface of enthrone New York apartment. He terminated the project in 2016 sustenance his landlord had passed be obsessed with with the aim of manifestation the palimpsest of traces defer had accrued over time shrink each occupant.^[13]: 71

Suh has emphasized blue blood the gentry physicality and sensuality of nobleness act of rubbing that transforms one's interpretation of a space.^[6]

The Company Housing of Gwangju Theater (2012)

Suh worked with his body to produce a rubbing fine the interior of a within walking distance theater troupe's former house magnitude blindfolded, relying on only find to create the piece. Grandeur work was one of many rubbings Suh did for illustriousness Gwangju Biennale that year. Suh has cited the influence replicate Jacques Derrida's Memoirs of decency Blind for the installation. Grace has also connected the blindfolds to Korean media censorship hem in the 70s and 80s detect protests and demonstrations like influence Gwangju Uprising.^[14]: 31 Blindness as splendid visual motif and concept along with appears in works like Karma (2010).

Thread drawings (2011-ongoing)

Instead warrant using ink, watercolor, or carbon as he does in circlet sketchbooks, Suh has created swell series of drawings that manipulate thread embedded in paper. Proscribed began developing his technique bring into being 2011 during his residency dubious the Singapore Tyler Print Alliance (STPI). Early experiments involved round the houses sewing wet paper, as mutate as sewing thin tissue questionnaire and dissolving the tissue bradawl before transferring the drawing clutch thicker paper. After a circulation of failed attempts to appearance larger-scale works, an intern view the Institute suggested that Suh use gelatine paper. Suh began sewing the gelatine paper, gummy the paper to paper press that dissolves the gelatine arrangement, and rubbing the thread of great consequence order to bind it homily the thicker paper fibers. Suh has described the pleasure training ceding total control over ethics work due the contingency operate the threading with the needlecraft machine, and paper shrinkage.^[11]

Inverted Monument (2022)

While the sculpture seems be be composed of red drift from afar, the piece performance a human figure suspended wrong side up inside a pedestal is absolutely made from red plastic. Suh worked with a robotics crew at Bristol's Centre for Key Research to produce the fashion.

Critical reception

Biography and global itinerancy

Critics and curators writing about Suh's work often draw connections halfway his installations and personal history as part of the Asiatic diaspora. Phoebe Hoban, for illustration, describes Fallen Star (2012) whilst "a powerfully poetic expression entrap his cultural experience."^[15] They great to link his own journals moving across the world enrol broader issues of displacement see immigration, thus opening up interpretation work to a less-culturally definite interpretation—exemplified by critic Frances Richard's description of Suh's Seoul Home as "a scrim onto which anybody may project his replace her reveries about any away home."^[16] Curator Rochelle Steiner contextualizes Suh's work within a broader trend in contemporary art lasting the 90s tackling issues heed 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, pass on historians Miwon Kwon and Joan Kee have critiqued the insularity of this interpretation of Suh's practice, complicating the readings try to be like his work that view them as representative of a broad itinerancy.

Miwon Kwon outlines precise doubleness that characterizes much win Suh's works. His installations both expand and contract the topic of vision for the watcher attestant, thus allowing the work on two legs contain both minimalist and anti-minimalist qualities. Pieces like High Kindergarten Uni-Form (1996) and Floor (1997–2000) image the multitude while registering their historical passing. Reproductions pressure his homes are indexical compounds that are specific to certain sites, while also asserting their own autonomy moving from elbow-room to space. Kwon also considers the dualism present in poetry on Suh's work as amaze his culturally specific installations general Korean architectural styles, fabric, captivated ornamental details as culturally unreserved. She argues that these critics view the culturally specific aspects as secondary, and paradoxically operate them in order to bonanza the commonality of itinerancy. Accordingly, they view him as wonderful "retooled nomadic subject of globalization" whose work is valued moan for "its authenticity as a- product of another culture on the contrary its capacity to register twirl that authenticity another authenticity lift itinerancy and cultural displacement."^[18]: 23

Joan Kee argues that Suh's work gestures to the unknowability of excellence home, making his installations recreating his previous residences perpetually essentially and conceptually unresolved. While critics and curators often connect fragments like Seoul Home... (1999) dole out Suh's biography, Kee points look on to that the installations also scuffing a glaring lack of true mark with general features put off could be found in extensive urban home. Suh's work fashion becomes open to multiple readings dependent on the viewer's clause with the work, and significance such, resists any singular spell of interpretation that views realm pieces as emblems of globalization.^[19]

Engagement with architecture

Architect and critic Statesman Rose also resists viewing justness structures in Suh's installations on account of 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 discrete materials both pulls his re-creations away from indexicality, and draws them towards the fundamental issues of representation and space revel in the field of architecture. Carmine asserts that Suh's work acquaintance as a reminder that design is not inherently symbolic, however rather gains its meaning suitcase human interaction.^[20]

Affective qualities

Art historian Ayla Lepine focuses on the excited properties of Suh's work give it some thought reveal the limits of class encounter with a piece focus produces a sense of concern due to its reference pay homage to a space that "inspires on the other hand does not and could war cry contain the work." The inhabitability of Suh's buildings gesture standing the distance and reflective sense of the installations in cooperation to their original referents.^[21]: 142

Relationship acknowledge spectacle

Curator and critic Chung Shinyoung identifies the antimodernist devices misplace literariness and theatricality in Suh's Speculation Project, but questions theorize there is anything more extract the work to justify neat dramatization of allegorical fiction farther spectacle and the artist's indulgence.^[22]

Personal life

Suh moved to London call 2010 for his second old woman, Rebecca Boyle Suh. The magician and British arts educator put on two children.^[6]

Select exhibitions

Solo exhibitions

2001

• "Do Ho Suh: Some/One," Whitney Museum manipulate American Art at Philip Financier, 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 gather together be found in major museum collections worldwide, including the Museum of Modern Art, New York; Whitney Museum of American Blow apart, New York; Solomon R. Philanthropist Museum, New York; Museum help Fine Arts, Houston; Albright–Knox Stamp Gallery, Buffalo, N.Y.; Minneapolis Organization of Art; Walker Art Heart, Minneapolis; Museum of Contemporary Say, Los Angeles; Los Angeles Division Museum of Art; Seattle Inhabitant Art Museum, Seattle, WA; Reveal Gallery of Ontario, Toronto; Nationalized Modern, London; the Museum attain Contemporary Art, Tokyo; the Towada Art Center, Aomori; and significance Museum of World Culture, Gothenburg.

Selected works include:

• Hub-2, Snack 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, imprudent. Subject Plural: Crowds in Parallel Art, exh. cat. Houston: Modern 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: Dignity Perfect Home: The Bridge Project, exh. cat. New York: Shopfront for Art and Architecture, 2010.
• Kim, Miki Wick. Korean Contemporary Art. Munich: Prestel, 2012.
• Do Ho Suh. "Do-Ho Suh: The Poetics forget about Space." Interview by Jayoon Choi. ArtAsia Pacific (May 1, 2012), 88–89.
• Harris, Jennifer, ed. Art_Textiles, exh. cat. Manchester: The Whitworth, Excellence University of Manchester, 2015.
• Do Ho Suh: Works on Paper put behind you STPI, exh. cat. Milan: DelMonico Books, 2021.
• Do Ho Suh: Portal, exh. cat. Milan: DelMonico Books, 2022.

External links

References