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From three-dimensional fabric sculptures of his parents’ house in Korea to an intimate drawing of his New York studio, WSJ. Magazine’s Art Innovator of 2013 investigates the idea of home—and what it means to belong in the 21st century.
AFTER KOREAN-BORN artist Do Ho Suh moved to London a few years ago to be with his wife, he missed his adopted home of New York. He kept a 500-square-foot live-in studio there, in a former sailors’ dorm in Chelsea, and began to contemplate ways of memorializing it. Many of Suh’s most famed sculptures had reimagined his homes—in translucent fabric or resin, or as a painstakingly detailed, oversize dollhouse—from his childhood in Seoul and his young adulthood in the United States. This time, though, he wanted to make a drawing. Except Suh was not content to sit in a chair with a pad and pencil and render what he saw. Instead, he covered every inch of the interior—walls, floors, ceiling, refrigerator, window air conditioner—with paper, then rubbed with a blue-colored pencil, the way a child might preserve the memory of a leaf in the fall.
When he was asked to make a piece for South Korea’s National Museum of Modern and Contemporary Art, which is opening a new branch in Seoul this month, Suh considered the location of the museum itself—the site of the former palace—and the gallery the piece will be installed in, an expansive room called the Info-Box that has a view of the palace’s last remains. In response, he created Home Within Home Within Home Within Home Within Home, a small hanok completely encapsulated by Suh’s first American home in Providence. The extra three “homes” in the title refer to the museum, the palace complex and Seoul. At a scale of 1:1, it is the largest fabric sculpture by volume he has ever made.
Therein, Suh says, lies his challenge as an artist. “It’s an existential question of what we believe in this world—there are a lot of holes, but we try to believe it’s whole, the way a lot of people see the house [sculpture] as an exact replica. There’s a lot of rupture and gap. The role of the artist is to see those ruptures.”
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