Do Ho Suh; the Korean-born artist is an itinerant. He studied aboard in New York after the graduation in Korea, and now he stays in London. He is implicated in the perception of migrations, impermanence and shifting identities. One-to-one scale translucent fabric structures is then created to replicate the site-specificity and metaphorically convey the proper phenomenon of globalisation.
A sense of mystery contributed by the gallery Victoria Miro through its heavy metallic door and have to ask for permission to get in which increase the audience’s curiosity to the subject. With the excessively high wall, it caters a strong attraction to drag attention in straight away. The artworks are displayed in gigantic vision. Assigned in a huge frame with relevantly long distance in between the works. No description labels on the wall, refer to the given papers for the definition. It is an innovative way to congregate observer’s concentration, to be more eager for knowledge and admire the detail patiently.
Moving from the superior room to the next building, then pass through long narrow stairs to get to the main thermal room is a defeated exhibition design: unconvincing sequence for the visitors. Viewer’s absorption has been disturbed by the people from the atrium space and accidentally went into another exhibition in the building. Fortuitously the narrow entryway infuses an excitement of perception.
Firstly, a video of the artist’s homes is located at the doorway to, then into the protagonist of the event. Being an artist who has a nomadic life is the main spirit of the artefact. Inspired by the contrast of the different homes in several cities; the emotional aspect to the discrepancy; the concern of upheaval and wanted the outside world to understand his feeling which is not extraordinary. Audience supposedly has to pass through the passageway is appropriated approach for them to inhabit the public space and to engage more with the artwork.