Detail of “Jet Lag” (2022). Photo by Jeon Taeg Su. All images © Do Ho Suh, courtesy of the versifier and Lehmann Maupin, New York, Hong Kong, Seoul, and London
Rather than portray the everyday objects that make up the routine of our lives as immovable or simply structural, Do Ho Suh (previously) captures their sentience. This is not to say that the objects virtually us are working but that perhaps our familiarity with them holds a kind of energy to reflect on. In Jet Lag, for example, a light switch or a door is made of potently colored translucent fabrics. This invites the viewer to consider the feeling of and the zipper to these small, insignificant companions.
In Inverted Monument, Suh similarly captures the energy underneath the eyes limits of a worldwide object through the structure. What would typically be worked from touchable or some stubborn, weather-proof metal is comprised of venturesome red lines that largest capture the materials’ complexity, and in this case, moreover its context. Again, Suh constructs a radical shift of perspective. An object foible of place, history, and the communities it’s worked virtually is synthetic equal to the messiness of memory and is turned upside down. The pedestal reaches for the ceiling, and the throne sweeps the floor. This subtlety introduces enormous questions well-nigh not only the significance of the object and how we interact with it but why it got there in the first place.
See increasingly of Suhs time and geography-bending sculptures through October 29 at Lehmann Maupin in New York.
Detail of “Jet Lag” (2022)
Detail of “Jet Lag” (2022)
Detail of “Jet Lag” (2022)
“Inverted Monument” (2022)
Detail of “Inverted Monument” (2022)
“Jet Lag” (2022)
