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

Woonchang Cho, a master in the Korean traditional art of 'Nakjuk'. Woonchang Cho is standing in front of the bamboos, which are boiled and dried in preparation of the 'nakjuk'. The floral and leaf pattern is seared with an iron on a 'nakjuk' quiver. There is nothing else he needs, as he draws with fire.
Nakjuk is considered one of the most complicated technique amongst the applied fine art of 'juk'.Woonchang Cho(65) has drawn with fire using one curved iron for 30 years.

'Nakjuk' is a traditional technique which uses an iron, heated on pine charcoal fire, to inscribe a pattern, a drawing, or a writing on the surface of a bamboo that has been boiled and dried. In Korea, the 'Nakjuk' technique was transmited by Chang-gyu Park from the time of Soonjo in Chosun Dynasty until the Japanese occupation.
In 1969, it was registered as the 31st issue of important cultural properties.