Victoria Miro Do Ho Suh: Passage/s Exhibition continues until 18 March 2017 Viotoia Miro, 16 Wharf Road, London NI 7RW “1 time and forget about the in-between spaces.” 96 life as a passageway, with no fixed beginning or destination, We tend to focus on the destination all the Inspired by his peripatetic fe, Do Ho Su has ong ruminated on the idea of home as both a physical structure and 2 lived experience, the boundaries of identity and the connection between the individual and the group across global cultures. Meticulously replicating the architecture of the places in which he has lived and worked, such as his childhood home in South Korea and Wester apartments and studios, Suh’s one-to-one scale translucent fabric structures give form to ideas about migration, transience and shifting identities. These ideas are further conveyed in his Hub works, where transitory, connecting spaces between rooms, such as vestibules and corridors, speak metaphorically about movement between cultures and the bluting of public and privat, 2s well as reflecting onthe passage ofthe artist's own lf, “I see life as a passageway, with n fixed beginning or destination,” says Sub. "We tend to focus on the destination all the time and forget about the in-between spaces. But without these mundane spaces that nobody realy pays attention to, thse grey ares, one canna gt rom point ato point b.” The artist's move to Londan provides a thematic and emotional touchstone fr this exhibition, hi first at Victoria Mico Hub, London Apartment, 2015, a partial representation of Sut's London home, is joined by other Mubs to create a walk- through configuration of nine structures oocupying the 26-mette-ong Galley 1, Wharf Road. To move through these elicately precise, weightless impressions is to experience a distinct emotional register, a sense of being in flux, crossing boundaries and moving between psychological states. The theme is explored further in animations, also on isplay in Galley Il, in which photographic images of interior spaces from various locations are cigitally‘sitched”together. Akin to the experience of walking through Sub's fabric structures, Passage/s, 2015, depicts a journey through ‘an apparently endless coridar; while in My Home/s, 2016, a camera pans vertically and horizontally through individual rooms as if they were located ina single apartment block, The idea of transient experience as both a sustained emotional state and an act of self-discovery is 2 theme shared by the enveloping three-channel video Passage/s: The Pram Project, 2015, on display in Gallery I in which the ats, accompanied by his daughters, explores streets in South Korea and around his home in London. Suh's move to London approximately five years ago coincided withthe arrival of hs first daughter. Attaching three GoPro video cameras to @ pushehait, inthe film he captures @ newly discovered locale trom thee different viewpoints while ambient sound from the street and conversations between father and daughters, in English and Korean, signal the crossing of cultural and geographical boundaries. Subs work always stems from the measuring of space and the processes, rational yet sensual, that enable him to determine and connect with his surroundings. Recently Suh has completed a major work, the Rubbing/Loving Project, made over the past three years in the New York apartment he first moved into in 1997. Created by ining every surface of the interior with paper and taking a rubbing by caressing the surface with coloured pencils and pastels, the work speaks to memories associated with place. Suh’s permanent departure from his New York residence after twenty years has also inspired a new set of lightbox works on display in Gallery|, Constructed from white fabric, the Exit Series, 2016 ~ smaller household fixtures and fittings such as lightbulbs, doorknobs and enty buzzers ~ appear ghostly, like the sloughed skin ofa reptile. ‘The exhibition also introduces « new process, developed during a residency at STPI Creative Workshop & Gallery, ‘Singapore, in which Sun's signature architectural pieces are compressed into large-scale two-dimensional ‘drawings’ Using gelatin tissue, the works are sewn in the same way as Suh’s architectural fabric pieves. Onoe immersed in water, however, the gelatin dissolves, fusing with the paper to leave an image in which the threads appear lke a skeletal framework against the coloured form ofthe object. Residual yet highly visceral, these works draw parallels between architectural space, clothing and the body, making explicit Suh’s fascination with the interconnected spaces we inhabit while continuing his career-ong investigation int the porous boundaries of identity. BIOGRAPHY Born in 1962 in South Korea, Do Ho Suh received a BFA in painting from the Rhode Island Schoo! of Design and a MFA in sculpture from Yale University. He curently lives and works in London, Suh represented Korea at the 49th Venice Biennale in 2001, and has staged numerous recent international solo exhibitions and site-specific projects at institutional verues including the Contemporary Arts Centre, Cincinnati (2016); MOCA Cleveland (2015 - 2016), travelling to MCA San Diego (2016); The Contemporary Austin, Texas (2014); National Museum of Modern and Contemporary rt, Seoul, Korea (2013); 2st Century Museum of Contemporary Art, Kanazawa, Japan (2012 - 2013 and 2005); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2012); University of San Diego, Californie (2012); Samsung Museum of Art, Seoul, Korea (2012); Seattle Art Museum, Washington (2011 and 2003) and Tate Modern, London (2011). 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