65. Do Ho Suh
Untitled, 2020
Perspex cube, polyester fabric, epoxy resin, silk clay, thread
20x20x20cm
Copyright The Artist
Sold
Further images
b.1962, Seoul, Korea; lives and works in London, New York and Seoul 1997 Yale University, USA, MA Sculpture 1994 Rhode Island School of Design, USA, BFA 1987 Seoul National University,...
b.1962, Seoul, Korea; lives and works in London, New York and Seoul
1997 Yale University, USA, MA Sculpture
1994 Rhode Island School of Design, USA, BFA
1987 Seoul National University, Korea, BA and MA in Oriental Painting
Do Ho Suh is widely known for his exquisite fabric sculptures that recreate, to scale, elements of his former homes, decontextualised and suspended in beauty within galleries and museums. Suh is interested in the malleability of space in both its physical and metaphorical forms, and examines how the body relates to, inhabits, and interacts with that space. He often centres the domestic and the way the concept of home can be articulated through architecture that has a specific location, form, and history. For Suh, the spaces we inhabit contain psychic energy, and his work makes visible markers of memory, experience, security and dislocation, while interrogating the notion of site specificity.
His Untitled work, created especially for Cure3, sees the ghostly forms of household objects that we come into constant contact with – door knobs, keys – emerge from a delicate body of texture and material. Retaining the same lightness and ethereal quality seen in his large-scale sculpture, it is playfully responsive to the architectural space of the cube. In the artist’s words:
“The cube prompted a new avenue of enquiry for me, which has been really exciting. I worked with materials I had to hand in the studio and the result builds upon my exploration of psychic space and the body. These recognisable quotidian objects, things we touch unthinkingly every day (and have become newly familiar with during lockdown), emerge and transmogrify into something more bodily. There’s a malleability to the fabric forms, which bear the material evidence of their making – loose threads and stitching – and they are free of the rigidity that is often associated with architecture and built environments in the West. The little balls are from a huge sculptural ‘artland’ I’ve been crafting out of modelling clay with my two children for over four years in the studio. That project is partly a means of giving physical form to the chaos of the child’s mind so there’s various layers of meaning to this work – it’s very tender and explorative for me. I’m so pleased that something that means a lot personally is going to support such an important cause.”
www.victoriamiro.com
www.lehmannmaupin.com
Portrait © Do Ho Suh Courtesy the artist and Victoria Miro, London / Venice (photography Daniel Dorsa)
1997 Yale University, USA, MA Sculpture
1994 Rhode Island School of Design, USA, BFA
1987 Seoul National University, Korea, BA and MA in Oriental Painting
Do Ho Suh is widely known for his exquisite fabric sculptures that recreate, to scale, elements of his former homes, decontextualised and suspended in beauty within galleries and museums. Suh is interested in the malleability of space in both its physical and metaphorical forms, and examines how the body relates to, inhabits, and interacts with that space. He often centres the domestic and the way the concept of home can be articulated through architecture that has a specific location, form, and history. For Suh, the spaces we inhabit contain psychic energy, and his work makes visible markers of memory, experience, security and dislocation, while interrogating the notion of site specificity.
His Untitled work, created especially for Cure3, sees the ghostly forms of household objects that we come into constant contact with – door knobs, keys – emerge from a delicate body of texture and material. Retaining the same lightness and ethereal quality seen in his large-scale sculpture, it is playfully responsive to the architectural space of the cube. In the artist’s words:
“The cube prompted a new avenue of enquiry for me, which has been really exciting. I worked with materials I had to hand in the studio and the result builds upon my exploration of psychic space and the body. These recognisable quotidian objects, things we touch unthinkingly every day (and have become newly familiar with during lockdown), emerge and transmogrify into something more bodily. There’s a malleability to the fabric forms, which bear the material evidence of their making – loose threads and stitching – and they are free of the rigidity that is often associated with architecture and built environments in the West. The little balls are from a huge sculptural ‘artland’ I’ve been crafting out of modelling clay with my two children for over four years in the studio. That project is partly a means of giving physical form to the chaos of the child’s mind so there’s various layers of meaning to this work – it’s very tender and explorative for me. I’m so pleased that something that means a lot personally is going to support such an important cause.”
www.victoriamiro.com
www.lehmannmaupin.com
Portrait © Do Ho Suh Courtesy the artist and Victoria Miro, London / Venice (photography Daniel Dorsa)