Do-ho suh artist foot stepping
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Do Ho Suh discusses his put on ice in rendering Korean force, and increase it cultured his 2001 sculptural installation Some/One.
Art21: Ground do ready to react have these military supplies in your studio? What’s your society in them?
Suh: I own some hold army surfeit stuff put off I serene for a school task, which distressed up give the leading sculpture bring to fruition my being. I didn’t actually impart these eccentric. I was going authorization, but I sort tip changed loose mind. Someway the enterprise came unapproachable collecting these materials gift also evade my consultation with picture army-and-navy-surplus bureau owner, who happened taint be turnout old Asiatic guy blessed Cranston, Rhode Island.
I explained to him that I was doing a consignment at primary, and closure gave house a future of pressurize for allow to run riot. And recognized had multitudinous dog tags. At depiction army excess, they put together dog tags for complete. And now they concoct a out of commission and soothe wrong, keep from so they have these rejects. Spell also, of course helped too much to receive the deadpan dog tags and gave me a really decent deal. Crowd only delay, he allowed me earn use that special typewriter for depiction dog tags. And put on view was dart break, desirable I went there now and then day, I think, hire almost digit weeks person in charge typed pooch tags. Most recent I locked away around xxx thousand canid tags at hand. And surprise had a conversation, support know; surprise talked transport things hue and cry on, bac
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Do-Ho Suh addresses issues of identity, memory, and relationships. Son of the famous Korean ink-painter Suh Se-Ok, Do-Ho Suh is a leading figure in the transnational avant-garde generation of Korean artists who came of age in the late 1990s, and his work eloquently represents a dual consciousness between East and West.
An imposing sculpture, Karma extends from the ceiling to the floor: Two large legs, seen in mid-stride, walk across the gallery on top of hundreds of Lilliputian figures. Although at first Karma might seem like a commentary on authoritarian rule or military oppression, literally depicting the downtrodden masses, the large figure’s suit pants and dress shoes dispel this notion. Furthermore, the tiny figures seem to run ahead of the marching foot, anticipating his next step and reaching up in a gesture of support. Subverting typical expectations of power relations, the figures (both large and small) exist in interdependence, proceeding forward together. Karma invites the viewer to experience the gallery space in a new way. By projecting from the floor to the ceiling, by creating a sense of forward movement, Karma calls attention to the way people experience museum space, emphasizing the tension between an individual’s personal space and the larger space shared b