small series of memory or recollection

The skillful transformation of disparate objects into small tulle sculptures is, without question, an indirect transmission of what Suh has seen and known. It is therefore apt to characterize this arrangement as “small series of memory or recollection surfaced through reproduction.” Suh presents these weightless objects, constructed from references drawn out of his personal history, with careful sensitivity, within a pictorial harmony and order that preserves their visual qualities. This environment, in which patient shaping attains a ceremonial gravity, is quick to become a “coordinated décor of memory that introduces time into recollections.”

Perhaps for this reason, the hundreds of weightless small objects mounted onto translucent walls acquire a new structural and aesthetic value at the points where they are affixed, abstracted from their original context. Spreading across a measured void, they begin to shape the space. The intimacy and emotional bond established between these objects and Suh likely constitute the essential motivation behind this unusual installation. It is evident that a sensitivity attuned to nearly every detail of a red-knitted door knocker, a turquoise door chain, or grey light switches completes this design. It is entirely natural, then, that these clusters of objects and colors, drawn into an emotional current, create an atmosphere that arrests the viewer through their power to transform the space, and that they produce near-fractures of thought within this space of memory. One may speak here of a substantive transformation rooted in emotional impulse, unfolding through a concentration on small yet delicate objects.

Furthermore, Suh, who excavates time through this approach to arrangement and brings it to the surface, conceptually overlaps interior and exterior, projecting onto these objects and images a propulsive force that disrupts layers of memory as their representational value. The sense of organic integration felt here is indeed a result achieved through the placement of each object side by side or stacked, taken from different corners of the home, or through the estranging bond they form with one another. This becomes apparent in the impossible coexistence of plumbing fixtures alongside a door chain, or a toilet paper holder alongside a door handle, positioned simultaneously above and beside each other.