In case you missed it: Do Ho Suh’s Passage/s

“I see life as a passageway, with no fixed beginning or destination. We tend to focus on the destination all the time and forget about the in-between spaces.”

It’s probably been one of the most Instagrammable exhibitions since the Jeff Koons retrospective (the balloon dog guy) and Yayoi Kusama’s ‘All the Eternal Love I Have for the Pumpkins‘ – that exhibition that had a selfie room with light up yellow pumpkins, you know? Admittedly, if you scroll deep into my Instagram, you’ll find a selfie or two with some of these famous artworks. Yet it’s understandable why ‘Passage/s‘ has become so Instagrammable.

Not only just for its fluorescent colours, Do Ho Suh creates an interactive space where one can move between delicately precise walls, rich in details and experience “a sense of being in flux, crossing boundaries and moving between psychological states”. Using translucent fabrics, Suh recreates to scale the architecture of the places where he has lived and worked, from childhood homes in South Korea to Western working studios. These incredible structures explore the idea of home as both a physical structure as well as the living experience in these homes.

Similarly to the Burberry’s Maker Studios, Suh’s work makes you appreciate the art of craft. His two-dimensional ‘drawings’ are one of the exhibition highlights. ‘Drawings’ because these large-scale pieces are elements of architecture such as a main entrance to an apartment in New York or a staircase on the ground floor of 348 West St, sewn in the same way as ‘Passage/s‘. Once soaked in water, these compressed to scale pieces show a skeletal framework, creating intricate thread drawings.

You can feel the presence of once lived in homes, inhabited by Suh at some point in his life whilst moving through ‘Passage/s‘. A heavily detailed door knob to a plain fire exit sign remains in Suh’s memory and is present in this exhibition. Suh reminds the viewer that we are often caught up in heading towards a destination without taking notice to acknowledge the in-between spaces.

“Without these mundane spaces that nobody really pays attention to, the grey areas, one cannot get from point a to point b.”

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