do ho suh – ultrawolvesunderthefullmoon

Fabric Installations by Do Ho Suh

Do Ho Suh’s immersive architectural installations—unexpectedly crafted with ethereal fabric—are spaces that are at once deeply familiar and profoundly alien. Suh is internationally renowned for his “fabric architecture” sculptures that explore the global nature of contemporary identity as well as memory, migration, and our ideas of home.

The large-scale installations of the artist’s brightly hued “Hub” sculptures—intricately detailed, hand-sewn fabric recreations of homes where Suh has lived from around the world. The Hubs comprise a series of conjoined rooms and passageways that visitors can enter and experience from the inside.

Suh was born in Korea and moved to the United States at the age of 29 in 1991, and he currently lives between New York, London, and Seoul. He crafts his works using traditional Korean sewing techniques combined with 3-D modeling and mapping technologies. Suh sees these works as “suitcase homes,” so lightweight and portable they can be installed almost anywhere.

Do Ho Suh, “Some/One”, Stainless Steel Military Dog Tags, Nickel-Plated Copper Sheets, Steel Structure, Glass Fiber Reinforced Resin, Rubber Sheets.

Do Ho Suh’s “Some/One” was installed in the Korean Pavilion at the 2001 Biennale di Venezia in Venice, Italy.

“Some/One” evolved from my first sculpture, “Metal Jacket”. I had a dream one day after I finished “Metal Jacket” that I wanted to turn it into some kind of larger installation. The dream was quite vivid. It was night, and I was outside a stadium, approaching it from the distance, and I saw a light in the stadium. So I thought, ‘There’s some kind of activity going on there.’ And as I approached, I started to hear clicking sounds, like the sound when metal pieces touch together. It was like there were thousands of crickets in the stadium. And then I entered the stadium.

I walked slowly, but I went into the stadium on the ground level. And then I saw this reflecting surface and I realized I was stepping on these metal pieces that were military dog tags. And they were vibrating slightly, vibrating and touching each other. The sound was from that. From afar I saw the central figure in the center of the stadium. It tried to go out of the stadium but it couldn’t because the train of its garment, which was made of dog tags, was just too big. It was just too big to pull all the dog tags.

So that was a dream and the image that I got. After that I made a small drawing about this vast field of military dog tags on the ground and a small figure in the center. Obviously I could not create the piece exactly as I dreamt it, but that was the kind of impact I wanted to create through that piece.” —Do Ho Suh