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 around us are alive 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 attachment to these small, insignificant companions.
In “Inverted Monument,” Suh similarly captures the energy beneath the eye’s limits of a common object through the structure. What would typically be formed from concrete or some stubborn, weather-proof metal is comprised of adventurous red lines that better capture the materials’ complexity, and in this case, also its context. Again, Suh constructs a radical shift of perspective. An object characteristic of place, history, and the communities it’s formed around is constructed according to the messiness of memory and is turned upside down. The pedestal reaches for the ceiling, and the head sweeps the floor. This subtlety introduces enormous questions about not only the significance of the object and how we interact with it but why it got there in the first place.
See more of Suh’s time and geography-bending sculptures through October 29 at Lehmann Maupin in New York.
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