Shan Hur : The door in the wall


Exhibition Dates: 30.01. – 22.03.2015
Private View: 29.01.2015 | 6-8pm
Location: Gazelli Art House 39 Dover Street London W1S 4NN

In this new series of sculptural work, which includes large-scale graphite renderings, wall sculptures, his signature cracked columns and domestic-size bronze wall pieces, Hur continues his exploration of the significance and historical references retained through traditional objects.

Marked by the discoveries found from cultural evolution and constant transitions, The Door In The Wall engages the viewer and retraces Shan’s origins by incorporating antiquities such as buddhas, bronze knives and traditional Korean chiming cups, obtained from his hometown in South Korea, within these structures. For this exhibition the artist uses a variety of materials such as Zelkova wood – a traditional Korean tree commonly used for bonsai- graphite, bronze and concrete, to embark the audience in an excavation of Urban recollection. The works located on the ground floor directly reference Shan’s fascination with cultural evolution, as his graphite renderings and concrete wall sculptures reference both a 9.7 meter ship hull, unearthed at Ground Zero’s construction site in New York*, and the shoes found within, believed to belong to the passengers of the vessel. Composed of Zelkova wood, the second wall sculpture is more of a literal interpretation of a ‘door in a wall’, and refers to a recently discovered wooden door like panel, dating back from the Saxon period*.

The Door In The Wall examines the conjunction and meanings we attach to our surroundings, inspired by engravings of Buddha the artist came across in the mountains of South Korea, the wall sculptures and broken pillars located on the first floor of the gallery, conceal unexpected items of treasure, and underline the importance of prehistory. Throughout the exhibition Shan questions the relationships between the cracks and the space, by including the supporting foundation structures of the gallery, such as the pillars within the work. By incorporating found objects inside the pillars and questioning the physical space of the gallery his interventions disrupt the viewer’s perception of the gallery space and the role it plays in showcasing the work.

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