Suh do ho biography of christopher

Instagramopens in a new tab. Facebookopens in a new tab. WeChatopens in a new tab. Twitteropens in a new tab. Artsyopens in a new tab. Artnetopens in a new tab. A compelling aspect of Suh's work is his juxtaposition of the ordinary with the monumental, exploring their roles in shaping identity. His life-sized fabric installations invite viewers to physically engage, altering their spatial perception and underscoring collective consciousness.

His Karma series — a monumental bronze sculpture of human figures stacked atop each other — uses scale to highlight the power of unity and the karmic ties that interlink our generational experiences, emphasising strength in numbers and societal interconnectedness. Suh has exhibited extensively in the UK. Suh's public commission Bridging Home, London unveiled in by Sculpture in the Cityexplores migration, memory, and the concept of home.

Suh do ho biography of christopher: Do-Ho Suh was born

Set atop a footbridge over Wormwood Street in the City of London, this architecturally-scaled installation—a traditional Korean Hanok house, seemingly out of place amid the modern skyline—serves as a powerful visual metaphor for cross-cultural displacement and integration. Suh has emphasized the physicality and sensuality of the act of rubbing that transforms one's interpretation of a space.

Suh worked with his team to produce a rubbing of the interior of a local theater troupe's former house while blindfolded, relying on only touch to create the piece. The work was one of several rubbings Suh did for the Gwangju Biennale that year. Suh has cited the influence of Jacques Derrida 's Memoirs of the Blind for the installation. He has also connected the blindfolds to Korean media censorship in the 70s and 80s of protests and demonstrations like the Gwangju Uprising.

Suh do ho biography of christopher: Born in in South Korea, Do

Instead of using ink, watercoloror graphite as he does in his sketchbooks, Suh has created a series of drawings that utilize thread embedded in paper. Early experiments involved directly sewing wet paper, as well as sewing thin tissue paper and dissolving the tissue paper before transferring the drawing to thicker paper. After a number of failed attempts to make larger-scale works, an intern at the Institute suggested that Suh use gelatine paper.

Suh began sewing the gelatine paper, attaching the paper to paper pulp that dissolves the gelatine paper, and rubbing the thread in order to bind it to the thicker paper fibers. Suh has described the pleasure of ceding total control over the work due the contingency of the threading with the sewing machine, and paper shrinkage. While the sculpture seems to be composed of red thread from afar, the piece showing a human figure suspended upside-down inside a pedestal is actually made from red plastic.

Suh worked with a robotics team at Bristol 's Centre for Print Research to produce the sculpture. Critics and curators writing about Suh's work often draw connections between his installations and personal background as part of the Korean diaspora. Phoebe Hoban, for example, describes Fallen Star as "a powerfully poetic expression of his cultural experience.

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

Suh do ho biography of christopher: Christopher K. Ho is a New

Miwon Kwon outlines a doubleness that characterizes much of Suh's works. His installations both expand and contract the field of vision for the viewer, thus allowing the work to contain both minimalist and anti-minimalist qualities. Pieces like High School Uni-Form and Floor — image the multitude while registering their historical passing. Reproductions of his homes are indexical products that are specific to particular sites, while also asserting their own autonomy moving from space to space.

Kwon also considers the dualism present in writing on Suh's work as seeing his culturally specific installations incorporating Korean architectural styles, fabric, and ornamental details as culturally unspecific. She argues that these critics view the culturally specific aspects as secondary, and paradoxically utilize them in order to find the commonality of itinerancy.

Therefore, they view him as a "retooled nomadic subject of globalization" whose work is valued not for "its authenticity as a product of another culture but its capacity to register through that authenticity another authenticity of itinerancy and cultural displacement. Joan Kee argues that Suh's work gestures to the unknowability of the home, making his installations recreating his previous residences perpetually materially and conceptually unresolved.

While critics and curators often connect pieces like Seoul Home Suh's work thus becomes open to multiple readings dependent on the viewer's engagement with the work, and as such, resists any singular line of interpretation that views his pieces as emblems of globalization. Architect and critic Julian Rose also resists viewing the structures in Suh's installations as 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 different materials both pulls his re-creations away from indexicality, and draws them towards the fundamental issues of representation and space in the field of architecture. Rose asserts that Suh's work acts as a reminder that architecture is not inherently symbolic, but rather gains its meaning through human interaction.

Art historian Ayla Lepine focuses on the affective properties of Suh's work that reveal the limits of the encounter with a piece that produces a sense of anxiety due to its reference to a space that "inspires but does not and could not contain the work. Curator and critic Chung Shinyoung identifies the antimodernist devices of literariness and theatricality in Suh's Speculation Projectbut questions if there is anything more to the work to justify its dramatization of allegorical fiction beyond spectacle and the artist's indulgence.

Suh moved to London in for his second wife, Rebecca Boyle Suh. The artist and British arts educator have two children. Contents move to sidebar hide. Article Talk.

Suh do ho biography of christopher: Born in Seoul in

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