Finger's Madam.6_3 21x36x22cm 2006



Finger's Madam.6_2 21x32x22cm 2006



Finger's Madam.6_1 21x52x78cm  2006

My work consists of wearable objects and photographs of models wearing the object. They are a symbol of self-defence against physical, linguistic and psychological forces in the real world. As a blood scab naturally protects a wound on the skin, unconsciousness also instinctively aids the defensive system against psychological attacks from the outside. The most significant reason why this defensive system occurs is ‘fear’, which is caused by one’s previous traumatic experience. Fear has two extreme dispositions like two sides of a coin, consisting of defensive and offensive characters. When an animal is wounded, it becomes more violent and, consequently, more offensive. In my work, the symbol of these aggressive aptitudes is the horn. As you might know, amongst mammals, only herbivorous animals have their own horn as a defence from carnivorous animals. This is the compensation as a result of evolution to adapt them to the environment. - Jung Ki Beak



Finger's Madam.1_2 23x26x27cm, Finger's Madam .1_1 22x28x27cm 2003




Saw 9x5x15cm 2006




Hook 5x2x2.5cm Freddy 8x2x2.5cm Scissorhands 11x2x2.5cm




Remote Sense (Alpha Helix) detail,2005
Urethane foam, hand-built epoxy, aqua-resin, urethane, infrared leve-feed cameras, LCD monitors, glass, programmable camera switching device, air craft cable




Bodhi Obfuscatus (Space-Baby)detail,2005
Mixed media, Courtesy Anton Kern Gallery, NY scientific theories) and artistic production.

Born to Korean parents in 1966 in Ithaca (New York), B.F.A. at Washington University and M.F.A. at Yale School of Art, Michael Joo lives and works in New York. He represented Korea at the last edition of the Venice Art Biennial in 2001.

From the start of his career Joo has focused in his work on the processes through which visible entities (like the human body, or flora and fauna in nature) consume invisible calories, and the crystallized byproducts generated by these processes. In his works Joo demonstrates the forms that can be assumed by one’s own mental and bodily efforts in the act of bearing witness to one’s historical and cultural identity. In other words, Joo combines making art with the apparently scientific theme of production of matter-energy and with the expenditure of calories of the human being during physical and psychological effort to achieve a state of diversity. Replacing the locus of the artwork with the practice of scientific thought and the objects derived from it, Joo attempts to go beyond the borderline between science and aesthetics. With respect to Pop Art and its appropriation of pop imagery to reveal the collapse of the separation between art and everyday life, and with respect to the conceptual-sculptural work of artists like Joseph Beuys, aimed at bridging the gap between the artwork and significant everyday “things”, the art of Michael Joo gives concrete visible form to units of mental thought and physical reaction, breaking down the confines between the results of natural phenomena (which can be comprehended by means of scientific theories) and artistic production.

Anton Kern Gallery



Paratrooper, Installations,  collaboration with The Fabric Workshop and Museum
h: 122 x w: 153 x d: 240 in / h: 309.9 x w: 388.6 x d: 609.6 cm
linen, polyester thread, cast stainless steel, cast concrete, plastic beads
 



Paratrooper-II, 2005, 192 x 180 diameter inches, 487.7 x 457.2 cm
monofilament, resin, nylon, poly organza, stainless steel armature



Perfect Home

Using translucent nylon, Suh creates a full-scale replica of his New York apartment, the adjoining corridor, and the staircase of his building in the main gallery of Lehmann Maupin. This expanding project, The Perfect Home II, is an interactive installation in which the visitor must examine his or her own individualized space in relation to the piece. The stitched silverish pale blue apartment, pink corridor, and green stairs contain a detailed tactile surface. The translucent nylon used in the creation of the piece relates to the notion of permeable boundaries and space. Doorknobs, plumbing, light switches and other architecturally distinct features are recreated in the interior of the apartment and corridor.



8th Istanbul Biennial, Staircase, 2003, Translucent nylon

Do-Ho Suh was born in Seoul, Korea in 1962. After earning his BFA and MFA in Oriental Painting from Seoul National University, and fulfilling his term of mandatory service in the South Korean military, Suh relocated to the United States to continue his studies at the Rhode Island School of Design and Yale University. Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh’s work draws attention to the ways viewers occupy and inhabit public space. In several of the artist’s floor sculptures, viewers are encouraged to walk on surfaces composed of thousands of miniature human figures. In "Some/One", the floor of the gallery is blanketed with a sea of polished military dog tags. Evocative of the way an individual soldier is part of a larger troop or military body, these dog tags swell to form a hollow, ghost-like suit of armor at the center of the room. Whether addressing the dynamic of personal space versus public space, or exploring the fine line between strength in numbers and homogeneity, Do-Ho Suh’s sculptures continually question the identity of the individual in today’s increasingly transnational, global society. Do-Ho Suh represented Korea at the 2001 Venice Biennale. A retrospective of the artist’s work was held jointly at the Seattle Art Museum and the Seattle Asian Art Museum in 2002. Major exhibitions of Suh’s work have also been held at the Whitney Museum of American Art at Philip Morris (2001), the Serpentine Gallery, London (2002), and the Kemper Museum of Contemporary Art in Kansas City, MO (2002-03).

artnet, Lehmann Maupin Gallery , design boom







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