Edited by Amie Corry. Text by Do Ho Suh, Martin Coomer, Christine Starkman, Ron Elad, Jon Lash.
The extraordinary journey of an “impossible” sculpture made from the negative form of an ancient Korean gate
In 2006, London-based Korean artist Do Ho Suh (born 1962) began work on a seemingly impossible project—to “make something out of nothing,” casting the negative form of a traditional Korean gate in solid acrylic resin. Portal would take nearly a decade to complete, and would provide the site for fundamental developments in Suh’s thinking on the role of both artist and museum in the 21st century, as well as the relationship between East and West. This volume tells the epic story of that process through those who made it possible. Through color illustrations and texts, it provides unique access to the typically veiled fabrication process: the process of scanning, modelling and constructing a nine-ton sculpture that would appear as if it was not there, a “living ghost image” cast from negative space.
Featured image is reproduced from 'Do Ho Suh: Portal.'
PRAISE AND REVIEWS
AIGA
Really nice balance of stunningly sequenced imagery and process/development drawings created an immersive, unforgettable experience with great support from the spare, methodical design.
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Published by DelMonico Books. Edited by Amie Corry. Text by Do Ho Suh, Martin Coomer, Christine Starkman, Ron Elad, Jon Lash.
The extraordinary journey of an “impossible” sculpture made from the negative form of an ancient Korean gate
In 2006, London-based Korean artist Do Ho Suh (born 1962) began work on a seemingly impossible project—to “make something out of nothing,” casting the negative form of a traditional Korean gate in solid acrylic resin. Portal would take nearly a decade to complete, and would provide the site for fundamental developments in Suh’s thinking on the role of both artist and museum in the 21st century, as well as the relationship between East and West.
This volume tells the epic story of that process through those who made it possible. Through color illustrations and texts, it provides unique access to the typically veiled fabrication process: the process of scanning, modelling and constructing a nine-ton sculpture that would appear as if it was not there, a “living ghost image” cast from negative space.
