START 2014
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Crack on the Wall #02, bronze, stainless-steel, 100x170x7cm, 2013
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Shan HUR
All buildings conceal something, sometimes the things we don’t want to see. Buildings are designed to tell lies, we don’t want to see the mechanisms of our houses and our workplaces, and we want to believe that we live in a clean safe world. We don't want to see wires, pipes, drains, extraction systems, the mechanisms that allow us to maintain, our illusions. The surfaces of the rooms we use mask the structures, which support them. In England builders have a not very admirable method of cleaning up which is that common, it has become a popular saying, “ sweep it under the floor boards” meaning lets hide it and forget about it. Some times on lifting old floorboards amongst the dirt are odd objects, or even newspapers that reveal the date those boards where last raised, some times worse things are found the bodies of animals or occasionally human beings. Murderers sometimes like to keep their victims close to them. Building move and change, most are broken in some way, or at least modified. Some parts of them are functional some are not buildings are in their way deceitful. What if we to imagine a form of archeology which was upside down? Archeologists dig into the earth, excavating, measuring, finding fragments, and sometimes whole objects intact, objects which have been hidden for centuries, millennia even, but would we expect to find whole objects buried in buildings? I think not there would be no reason for them to be there. Yet this what we find in the work of Shan Hur. We enter a building or a gallery seemingly as we saw it before or as we expect it to be as it was before, it is not, and where is the work of Shan Hur, which we have come to see? It would seem its not there either, and then we seem to see that part of the fabric of the building has been chiseled away. Excavated, perhaps there is some building work that has not been completed? A repair that needs to be completed, but no there revealed and unmarked is a saxophone, or a perfect Chinese vase. Various questions arise firstly why is this object preserved in the fabric of the building? And how did who ever started to chisel it out so carefully know it was there? Why didn’t they damage it during the process? Do the other columns, walls also contain similar objects is there some form of hidden buried museum of objects in the room? It is a disturbing thought. The beauty of Shan Hur’s work is that is that everything is not as it seems. He has carefully added something to the building in a way that is discrete and coherent with its structure. The thought process we find ourselves going through as if like archeologists we have discovered something new and intact, is in fact the reverse. It has not been excavated but sculpted. However what the work of Shan Hur does do is make us question the world around us and what is hidden within it. After seeing his work trusting the structures we live in and take for granted is not as easy as it once was. - Edward Allington (Professor of Slade School of Fine Art) Education 2010 M.F.A. Slade School of Fine Art 2008-2010, London, UK 2007 B.F.A Sculpture, Seoul National University, Seoul, Korea Solo Exhibition 2017 ‘7 pillars’, Gana Art Park, Yangjoo, Korea 2015 ‘The Wall’, ILJU&SEONHWA GALLERY, Seoul, Korea ‘The door in the wall’ , Gazelli art house, London, UK 2014 ‘A New Column for Manchester’, Manchester University, Manchester, UK 2013 'L’ÂGE D’OR', Aando fine art, Berlin, Germany 2011 'Inclined Angles', Hanmi gallery, London, UK Group Exhibition 2016 ‘Evolved Museum: the former Belgian Consulate’, Seoul Museum of Art, Korea ‘The Language of things’, Space K, Daegu, Korea ‘Be touched-V’, Space Onewall Ejuheon, Seoul, Korea ‘The moon, round like a little plate’, Art factory, Daegu, Korea ‘Charity Bazaar 2016’, Space K, Seoul, Korea ‘Situation-Nakwoo Society’, Seoul National University Woo-Seok Hall, Seoul, Korea 2015 ‘Overture for Twenty Differences’, Art Space Plasque, Seoul, Korea ‘The approach’, Gazelli art house, London, UK 2014 ‘Trace’, Aando fine art, Berlin, Germany 2013 'RBS Bursary Award', London, UK 'Soldier's Tale', Asia House, London, UK ‘The Tainted’, Gazelli art house, London, UK 2012 ‘4482 V’, Bargehouse, London, UK ‘Bodhi’, Gazelli art house, London, UK ‘When I spoke its name…’, 7 Rue Gustave Nadaud 75016, Paris, France 'The Function of The Oblique - Part I | Resistance', Noformat gallery, London, UK 'Per annum: 12', The Contemporary London,London, UK 'The Function of The Oblique - Part II | Action', Son gallery, London, UK 'Oriel Davies Open 2012', Oriel Davies Gallery, Newtown, Wales 'Place Not Found', Forman’s Smokehouse Gallery, London, UK 'Architecture as Human Nature', Supermarkt-berlin, Berlin, Germany 2011 '4seen', The gardens gallery , Cheltenham, Gloucestershire, UK '4482 IV', Bargehouse, London, UK ‘The Open West’, Cheltenham, Gloucestershire, UK ‘Acquisition’, London Art Fair, Business Design Centre, London, UK ‘Having a dig’, Arch402, London, UK 2010 CUBE Open 2010, CUBE: Centre for the Built Environment, Manchester, UK 'The grass will grow over the city',Hackney Wicked Festival,London, UK 'Present from the past', Korean Cultural Centre London, UK M.F.A degree show, London, UK '4482 III', Bargehouse, London, UK 'Artist in residence', HEAL'S, London, UK 2009 'Make it. Print it. Pack it. Ship it ', closed shop(Fedex), London, UK 'CROSS FIELDS', Korean Cultural Centre London, UK 2007 B.F.A Degree Show, Seoul National University, Seoul, Korea Award and Residency 2016 Kumhoartstudio, Seoul, Korea 2013 'Royal British Society of Sculptors Bursary Award', London, UK 2012 'Oriel Davies Open 2012', Newtown, Wales, UK - Finalist 2011 ‘The Open West’, Cheltenham, Gloucestershire, UK - 1st Award 'Art Catlin', London, UK - Finalist 2009 Group residency based around Kurt Schwitters Merzbarn 2007 Brighton University Art faculty Prize Collection British Government Art Collection(GAC) Private collection in UK Private collection in Netherlands Private collection in South Korea |