Gate
Installation view: The Kaleidoscopic Eye: Thyssen-Bornemisza Art Contemporary Collection, Mori Art Museum, Tokyo, Japan, 2009. Photo: Watanabe Osamu | Mori Art Museum
Collection
Silk and stainless steel tubes
326 x 211 x 100 cm
Do-Ho Suh investigates notions of (personal) space, its relationship to individuality, collectivity and anonymity - molded by his experience of relocating from Korea to the United States - and the ways viewers occupy and inhabit public space. Gate takes up the subject of architectural representation. Transferred into the dream-like state of a shadow reality through the use of transparent fabric, a traditional Korean gate is suspended from the ceiling of the gallery space. Gate memorializes a cultural and personal attachment but in such a pared-down, emblematic way that private narrative disperses. Its link to an original or fixed location is diluted, until site-specificity becomes portable.
*1962 in Seoul, South Korea | Living and working in New York, USA, London, United Kingdom & Seoul, South Korea
326 x 211 x 100 cm
Do-Ho Suh investigates notions of (personal) space, its relationship to individuality, collectivity and anonymity - molded by his experience of relocating from Korea to the United States - and the ways viewers occupy and inhabit public space. Gate takes up the subject of architectural representation. Transferred into the dream-like state of a shadow reality through the use of transparent fabric, a traditional Korean gate is suspended from the ceiling of the gallery space. Gate memorializes a cultural and personal attachment but in such a pared-down, emblematic way that private narrative disperses. Its link to an original or fixed location is diluted, until site-specificity becomes portable.
*1962 in Seoul, South Korea | Living and working in New York, USA, London, United Kingdom & Seoul, South Korea