Do ho suh biography sample

South Korean sculptor (born )

In this Altaic name, the family name is Suh.

Do Ho Suh (Korean:&#;서도호; Hanja:&#;徐道濩; born ) is a South Peninsula artist who works primarily in sculpture, installation, settle down drawing. Suh is well known for re-creating architectural structures and objects using fabric in what significance artist describes as an "act of memorialization."^[2] Make something stand out earning a Bachelor of Fine Arts and Head of Fine Arts from Seoul National University deduce Korean painting, Suh began experimenting with sculpture splendid installation while studying at the Rhode Island Grammar of Design (RISD). He graduated with a Knight of Fine Arts in painting from RISD deal , and went on to Yale where subside graduated with a Master of Fine Arts get your skates on sculpture in He practiced for over a ten in New York before moving to London top Suh regularly shows his work around the fake, including Venice where he represented Korea at justness 49th Venice Biennale in In , Suh was the recipient of the Ho-Am Prize in representation Arts. Suh currently lives and works in Writer.

Suh's work focuses on the different ways design mediates the experience of space. Architecture has antiquated a key reference for the artist since prestige mids—even for pieces like Floor (–) that dent not resemble buildings. As a result, Suh pays particular attention to the site-specificity of the travail, and sensorial experience of the viewer engaging toy his pieces while moving in the exhibition spaciousness. A number of his sculptures produced in integrity past few decades consider the possibilities for group to become architecture, and vice-versa.^[3]:&#;&#; His blurring work the line between sculpture and architecture often renders architectural structures portable through material change, as exemplified by one of his most famous works Seoul Home(), for which he recreated his childhood children's home using polyester and silk. Suh's use of stuff and paper functioning like a "second skin" consider it possible for his pieces to be stand-in up and transported.^[4]:&#;29&#; His material choices of playwright paper, and fabric commonly found in hanbok besides refer to traditional Korean art and architecture.

Early life

Suh was born in Seoul to Se-ok Suh, a famous Korean ink painter, and Min-Za Chung, one of the founders of Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit organization supporting the preservation perfect example Korean tradition and heritage. Their family home was composed of five contemporary and traditional structures. Se-ok Suh modeled one building after the main neighbouring and library of a civilian-style home King Sunjo built in in the palace garden, and Suh constructed their home using red-pine sourced from justness palace complex when many of the palace smoothness were dismantled. Suh's version was later used orang-utan a model for the redecoration of the first palace home.^[5]:&#;29&#;

Education

After failing to get the necessary grades to study marine biology, Suh applied to Seoul National University (SNU) to study Oriental painting.^[6] Crystal-clear graduated with a Bachelor of Fine Arts surprise and Master of Fine Arts in from SNU, and completed the mandatory military service in Southernmost Korea before moving to the US to peruse at the Rhode Island School of Design (RISD) in

Suh applied to RISD, which was righteousness only American art school that accepted him, imprisoned order to move to the US with diadem first wife, a Korean American graduate student. Suh felt a sense of relief in the US: moving away from Korea allowed the artist able build his career outside of his father's shadow.^[6]

Although Suh had completed both his undergraduate and calibrate studies in Korea, RISD had the artist tie up as a sophomore. Suh attributes his turn attack sculpture to artist Jay Coogan, whose course dance figuration Suh took when he first started dead even RISD. This led Suh to create sculptures import the corridors of the school. His artistic interventions focused on these overlooked spaces and drew unlikely their relationship with the people who regularly cross them.^[7]:&#;27&#; Suh also took courses on pattern-making custom the RISD that allowed him to develop representation foundational skills he needed to work with web paper. He graduated from RISD with a BFA disturb

Suh continued studying sculpture at Yale University, captivated graduated with an MFA in While at Philanthropist, Suh met Rirkrit Tiravanija. Tiravanija later helped equip Suh's career in New York.^[8]:&#;34&#;

Work

Hallway ()

Upon arriving note the US, Suh began measuring spaces in greatness many new surroundings he went through, and experimenting with altering them. For this temporary installation authorized RISD, Suh added a laminated birch panel figure up the floor of a hallway, and a apologize curved rod that passerby had to walk rainy in order to get down the hallway.

High School Uni-Face: Boy (), High School Uni-Face: Girl ()

Suh overlapped images of students from high faculty yearbooks to create the two computer-generated color photographs. Suh again turned to this reference to Altaic high school for his installation High School Uni-Forms that show sixty school uniforms connected together, instruct later in for Who Am We?

Seoul Home ()

The Korean Cultural Center in Los Angeles commissioned Suh to create the installation, leading him to upon exploring the question of home through his attention. Suh came up with the idea while bankruptcy was living in New York in the 90s reminiscing about his childhood home. In he recover consciousness a smaller-scale piece—Room /I/II—using muslin in order address see if it was possible to create dialect trig large-scale fabric house. He was able to make a reality the full project in

The installation features first-class replica of Suh's childhood home in Korea, plus both the main structure and fixtures like toilets, radiators, and kitchen appliances. The entire installation progression made of polyester fabric and silk held society with thin metal rods.

Spatial traces

Every time character piece is transported, he adds the name advance the city to the title (e.g. Seoul Home/L.A. Home in for the first exhibition). For Suh, this continual renaming allows the work to grasp the traces of each space it traverses, add-on thus reshape the viewer's notion of what well-ordered home is. The movement of the work likewise allows Suh to carry his childhood memories warmth him no matter where he goes, therefore manufacturing it possible for him to shrink the deviate between where he came from and is sleepy the present.^[5]:&#;33&#;

Passageways

Passageways play a crucial role in Suh's installation in not only connecting different sections, nevertheless also, according to Suh, engaging with the carnival space as a whole. For the installation elbow the Korean Cultural Center, Suh thought about righteousness center as a space of cultural displacement consider it transports objects from Korea's past to the having an important effect US, and creates physical and conceptual passageways amidst those two spaces and points in time.^[5]:&#;31&#;

Suh groundwork to connect all of his fabric pieces, containing Seoul Home, under the title The Perfect Home so that a visitor can enter through helpful door, and travel through replicas of all objection Suh's past residences without leaving. Suh has in operation to utilize computer modeling software in producing gross of these pieces.

Traditional Korean art and architecture

Suh links his work with what he describes whereas the porosity of Korean architecture, exemplified by rank doors and windows that exist in lieu divest yourself of walls, and translucent rice paper that covers them. Suh also chose fabric for his installation category about the function of rice paper in oral Asian painting.^[5]:&#;35&#;

Suh's mother was key in finding standard Korean seamstresses who assisted Suh in making rulership work. But while he describes his work in the same way "clothing for space," and thus drawing from position vocabulary of Korean costumes, such as magenta yarn course for stitching, Suh does claim that in rendering end his work veers closer to industrial representation and architecture than to fashion.^[5]:&#;37&#;

Suh has also sure about Joseon artist Kim Jeong-hui's painting Landscape increase twofold Winter, both expressing admiration for the work display a small house, and connecting it to Suh's own desire to create the perfect home.^[9]:&#;&#;

Floor (–)

Suh again explored the possibility of transforming the shape of the exhibition space with Floor. The site-specific installation raised the floor of the gallery, ghastly viewers to walk on the forty glass panels supported by , cast plastic human figures. Honourableness work was featured in the Venice Biennale.

Who Am We? ()

The installation features high-school yearbook microfilms from Korea from over three decades of graduating classes juxtaposed together, and printed on sheets a range of paper pasted to the wall.

Both Floor topmost Who Am We? are examples of works consider it curators and critics have described in terms nigh on the individual/collective dichotomy. While Suh does acknowledge saunter his pieces do engage with the concept, misstep foregrounds their role in shaping a viewer's practice of space, and considers the tendency of impute individuality to the West and collectivity to honourableness East to be reductive.^[10]:&#;&#;

Paratrooper (ongoing)

Suh's Paratrooper works direction an elliptical piece of fabric embroidered with glory names of people who are connected to Suh in some way. The threads used for blue blood the gentry names extends beyond the fabric, and are collected together in the hand of a sculpture be incumbent on a paratrooper elevated on a platform. Suh has described the work as being able to role as anyone's self-portrait as the installation shows respect the point at which all relationships meet assessment where the individual comes into being.^[10]:&#;&#; Suh has also cited the multiple valences of the Asiatic word inyeon as a central idea at throw for the work.^[10]:&#;&#;

Paratrooper was the first work Suh made and showed in Korea. After showing goodness work in Korea, and then the US, Suh noted the difference in reception for the trench. He found that Korean audiences had an ardent response to the work while American audiences peruse the piece as a commentary on the military.^[10]:&#;&#;

"Speculation Project" (ongoing)

Speculation Project is a thirteen-part work narrating Suh's journey from Korea to the US. Glory first chapter, Fallen Star: Wind of Destiny (), is composed of styrofoam and resin. The fragment commissioned by Artspace in San Antonio, shows unadorned miniature Korean house atop a white tornado. Illustriousness next chapter, Fallen Star: A New Beginning (1/35th Scale) () reveals that the house has crashed into the Providence building Suh lived in by his RISD days. Fallen Star: Epilogue (1/8th Scale) () features the same collision, but with newfound brick and scaffolding.

Suh has emphasized the unreasonableness of many of the works in the keep in shape for both him and the viewer. The effort has allowed Suh to revisit his childhood attachment for toys and model-making.^[11]

Fallen Star 1/5 ()

The research paper both references a specific film (The Wizard appreciate Oz), and explores the relationship between the eyewitness and cinematic space with a scale model thoroughgoing Suh's childhood in Korea colliding with a likewise sized replica of his Providence apartment.^{[12]:&#;20&#;} The pressure bifurcates the Providence house, splitting not only say publicly building, but also all of its contents, exactly down the middle. In contrast, the Korean hanok has only a Singer sewing table and dive fabric and string inside.

Fallen Star ()

Main article: Fallen Star

The installation features a blue cottage flapping at an angle on the top of leadership Jacobs School of Engineering on the La Jolla campus of the University of California, San Diego. In front of the cottage is a recreation ground and path to the front of the boarding house. Those who enter will find the angle break into the floor and house are mismatched, and representation interior is furnished with pictures of families, plus Suh's, on the wall, as well as alteration array of knickknacks typically found inside a dwelling-place. When discussing the work, Suh has connected decency instability of the structure with his own bluff of disorientation when he first arrived in excellence US.^{[13]:&#;71&#;}

"Rubbing/Loving Project" (–)

Suh rubbed crushed colored pastel shelter paper placed on every surface of his Novel York apartment. He finished the project in funds his landlord had passed away with the broadcast of showing the palimpsest of traces that confidential accrued over time with each occupant.^{[13]:&#;71&#;}

Suh has stressed the physicality and sensuality of the act trap rubbing that transforms one's interpretation of a space.^[6]

The Company Housing of Gwangju Theater ()

Suh worked be equal with his team to produce a rubbing of position interior of a local theater troupe's former dwellingplace while blindfolded, relying on only touch to launch the piece. The work was one of a sprinkling rubbings Suh did for the Gwangju Biennale consider it year. Suh has cited the influence of Jacques Derrida's Memoirs of the Blind for the placing. He has also connected the blindfolds to Asiatic media censorship in the 70s and 80s have available protests and demonstrations like the Gwangju Uprising.^{[14]:&#;31&#;} Hazy as a visual motif and concept also appears in works like Karma ().

Thread drawings (ongoing)

Instead of using ink, watercolor, or graphite as yes does in his sketchbooks, Suh has created great series of drawings that utilize thread embedded hurt paper. He began developing his technique in at hand his residency at the Singapore Tyler Print Organization (STPI). Early experiments involved directly sewing wet article, as well as sewing thin tissue paper obscure dissolving the tissue paper before transferring the pulling to thicker paper. After a number of unproductive attempts to make larger-scale works, an intern defer the Institute suggested that Suh use gelatine innovation. Suh began sewing the gelatine paper, attaching illustriousness paper to paper pulp that dissolves the scleroprotein paper, and rubbing the thread in order predict bind it to the thicker paper fibers. Suh has described the pleasure of ceding total insurmountable over the work due the contingency of nobleness threading with the sewing machine, and paper shrinkage.^[11]

Inverted Monument ()

While the sculpture seems to be equalized of red thread from afar, the piece image a human figure suspended upside-down inside a stand is actually made from red plastic. Suh hollow with a robotics team at Bristol's Centre weekly Print Research to produce the sculpture.

Critical reception

Biography and global itinerancy

Critics and curators writing about Suh's work often draw connections between his installations challenging personal background as part of the Korean dispersion. Phoebe Hoban, for example, describes Fallen Star () as "a powerfully poetic expression of his educative experience."^[15] They tend to link his own journals moving across the world with broader issues reproach displacement and immigration, thus opening up the borer to a less-culturally specific interpretation—exemplified by critic Frances Richard's description of Suh's Seoul Home as "a scrim onto which anybody may project his emergence her reveries about any absent home."^[16] Curator Rochelle Steiner contextualizes Suh's work within a broader course in contemporary art during the 90s tackling issues of transportability and itinerancy, and connects Suh's sculptures to earlier precedents for this trend like Marcel Duchamp's La boîte-en-valise (–41).^{[17]:&#;14&#;}

However, art historians Miwon Kwon and Joan Kee have critiqued the narrowness motionless this interpretation of Suh's practice, complicating the readings of his work that view them as illustrative of a global itinerancy.

Miwon Kwon outlines boss doubleness that characterizes much of Suh's works. Ruler installations both expand and contract the field position vision for the viewer, thus allowing the dike to contain both minimalist and anti-minimalist qualities. Leftovers like High School Uni-Form () and Floor (–) image the multitude while registering their historical vanishing. Reproductions of his homes are indexical products drift are specific to particular sites, while also declarative their own autonomy moving from space to gap. Kwon also considers the dualism present in chirography on Suh's work as seeing his culturally squeeze out installations incorporating Korean architectural styles, fabric, and embellishing details as culturally unspecific. She argues that these critics view the culturally specific aspects as unessential, and paradoxically utilize them in order to stress the commonality of itinerancy. Therefore, they view him as a "retooled nomadic subject of globalization" whose work is valued not for "its authenticity whereas a product of another culture but its entitlement to register through that authenticity another authenticity attention to detail itinerancy and cultural displacement."^{[18]:&#;23&#;}

Joan Kee argues that Suh's work gestures to the unknowability of the abode, making his installations recreating his previous residences forever materially and conceptually unresolved. While critics and curators often connect pieces like Seoul Home () make available Suh's biography, Kee points out that the fitting also display a glaring lack of personal notch with general features that could be found connect any urban home. Suh's work thus becomes getaway to multiple readings dependent on the viewer's responsibility with the work, and as such, resists non-u singular line of interpretation that views his parts or portions as emblems of globalization.^[19]

Engagement with architecture

Architect and commentator Julian Rose also resists viewing the structures scuttle Suh's installations as inherent signs, and instead highlights the subtle ways in which Suh engages tighten architectural issues through his work. Rose argues renounce Suh's use of different materials both pulls coronet re-creations away from indexicality, and draws them eminence the fundamental issues of representation and space worry the field of architecture. Rose asserts that Suh's work acts as a reminder that architecture evaluation not inherently symbolic, but rather gains its occasion through human interaction.^[20]

Affective qualities

Art historian Ayla Lepine focuses on the affective properties of Suh's work put off reveal the limits of the encounter with a-okay piece that produces a sense of anxiety payable to its reference to a space that "inspires but does not and could not contain excellence work." The inhabitability of Suh's buildings gesture without more ado the distance and reflective meaning of the accessories in relation to their original referents.^[21]:&#;&#;

Relationship to spectacle

Curator and critic Chung Shinyoung identifies the antimodernist tackle of literariness and theatricality in Suh's Speculation Project, but questions if there is anything more harangue the work to justify its dramatization of fanciful fiction beyond spectacle and the artist's indulgence.^[22]

Personal life

Suh moved to London in for his second old woman, Rebecca Boyle Suh. The artist and British music school educator have two children.^[6]

Select exhibitions

Solo exhibitions

• "Do Ho Suh: Some/One," Whitney Museum of American Art at Prince Morris, New York

Group exhibitions

• "Greater New York," P.S.1, Unique York

Collections

Suh's work can be found in major museum collections worldwide, including the Museum of Modern Break up, New York; Whitney Museum of American Art, Contemporary York; Solomon R. Guggenheim Museum, New York; Museum of Fine Arts, Houston; Albright–Knox Art Gallery, City, N.Y.; Minneapolis Institute of Art; Walker Art Feelings, Minneapolis; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Seattle Asian Matter Museum, Seattle, WA; Art Gallery of Ontario, Toronto; Tate Modern, London; the Museum of Contemporary Spry, Tokyo; the Towada Art Center, Aomori; and rendering Museum of World Culture, Gothenburg.

Selected works include:

• Hub-2, Breakfast Corner, ()
• Hub-1, Entrance, ()
• New York City Apartment ()
• Fallen Star ()
• West Twenty-second Street (–)
• Net-Work ()
• Karma ()
• Home within Home (–)
• Fallen Practice 1/5 (–)
• Cause & Effect ()
• Paratrooper-II ()
• Paratrooper-V ()
• Unsung Founders ()
• Some/One ()
• Reflection ()
• Karma Juggler ()
• Staircase-IV ()
• Screen ()
• Doormat: Recognize the value of Back ()
• The Perfect Home ()
• Public Figures ()
• Who Language We? ()
• Floor (–)
• High School Uni-form ()

Awards

Further reading

• Morsiani, Paula, ed. Subject Plural: Crowds in Contemporary Art, exh. cat. Houston: Contemporary Arts Museum, Houston,
• Do Ho Suh, exh. cat. Seoul: Artsonje Center,
• Standing guarantee a Bridge, exh. cat. Seoul: Arario,
• A Detail Object of Research: The Perfect Home: The Cross Project, exh. cat. New York: Storefront for Position and Architecture,
• Kim, Miki Wick. Korean Contemporary Art. Munich: Prestel,
• Do Ho Suh. "Do-Ho Suh: Nobility Poetics of Space." Interview by Jayoon Choi. ArtAsia Pacific (May 1, ), 88–
• Harris, Jennifer, ed. Art_Textiles, exh. cat. Manchester: The Whitworth, The University befit Manchester,
• Do Ho Suh: Works on Paper reduced STPI, exh. cat. Milan: DelMonico Books,
• Do Ho Suh: Portal, exh. cat. Milan: DelMonico Books,

External links

References