View To Scale
View In Room
View To Scale
View In Room
Digital silk print, framed
Dimensions: 80cm (H) x 60cm (W) x 3cm (D) / 31.5" (H) x 23.6" (W) x 1.2" (D)
Note: Actual colours may vary due to photography & computer settings.
Shan Hur’s sculptural interventions disrupt the viewer’s perception of the gallery space acting as a white cube or art container by directly implicating the gallery as an active element in the artwork itself. The ideas which inform Hur’s practice derive from a careful examination of construction sites and closed shops, as he is fascinated by the moment of transition when a particular space is reconfigured for a new purpose. During this transition the polished veneer of the city is temporarily removed, thereby exposing its farcical nature, and the mechanisms by which this veneer is generated.
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Based in: Seoul
Shan Hur holds an M.F.A from Slade (2010) and a B.F.A in Sculpture from Seoul National University, Seoul, Korea. (2007) His work is held in the collection of the British Art Collection and some recent awards include ‘Royal British Society of Sculptors Bursary Award’, London U.K. (2013), Oriel Davies Open 2012 Newtown Wales, UK Finalist, ‘The Open West’, Cheltenham, Gloucestershire, UK, 1st Award, ‘Art Catlin’ Finalist (2011). His work is included in the forthcoming exhibition at the Korean Museum, and he has
participated in recent exhibitions ‘A New Column for Manchester’, Manchester University, Manchester, UK (2014) ‘L’ÂGE D’OR’, Aando fine art, Berlin, Germany (2013) among others.
Shan Hur’s sculptural interventions disrupt the viewer’s perception of the white cube as an art container, directly implicating the gallery space as an active element in the artwork itself. The ideas, which inform his practice, derive from a careful examination of construction sites and closed shops, fascinated by the moment of transition when a particular space is reconfigured for a new purpose. During this transition the polished veneer of the city is temporarily removed, thereby exposing its farcical nature, and the mechanism by which this veneer is generated.
For Acquisition, Hur exposes and plays with the façade of the exhibition space, transforming it into a site of discover. Rather than the passive role in which the viewer traditionally receives sculpture within the context of the gallery, here he becomes an active participant, in what seems to be an excavation. Though the participatory aspects of Hur’s work are mental rather than physical, they uncage an inquisitive imagination, evoking memories of the adventures and discoveries made during childhood. (-Marius Grainer, 2011)
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