The significance of home is so elusive that sailors have been looking for it since navigation became possible. And we all know how it is to miss a house as someone who misses a loved one; it is one of those rare phenomena in which the world of things mixes with our intimacy and forms an essential part of our map of affections. South Korean artist Do Ho Suh has evidenced this phenomenon in the most evocative and dream-like way in his collection of installations of houses.

One of his projects came about when Do Ho Suh moved to London and missed his adoptive apartment in New York. At that time he began to think up ways of memorizing it with as much exactitude as was possible from a distance. His previous projects had included the reimagining of his homes –from his childhood in Seoul to his youth in the United States – and together they formed a kind of botanical album of his life: as if each house were the leaf of a tree pressed to preserve its exactitude. Perfect Home, an exhibition he staged in Japan, included several of Suh’s recreated houses.

Every detail of his apartment in New York, from the bathroom plumbing to the staircase banister or the fans, is disturbingly perfect. The extraordinary thing is that the model is meticulously sewn with translucent and fragile cloth. Perfect Home was the subject of a beautiful video directed by Nils Clauss.

The spaces we live in are not as solid as they seem, and are made of the same phantasmagorical material as dreams and memories.

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The significance of home is so elusive that sailors have been looking for it since navigation became possible. And we all know how it is to miss a house as someone who misses a loved one; it is one of those rare phenomena in which the world of things mixes with our intimacy and forms an essential part of our map of affections. South Korean artist Do Ho Suh has evidenced this phenomenon in the most evocative and dream-like way in his collection of installations of houses.

One of his projects came about when Do Ho Suh moved to London and missed his adoptive apartment in New York. At that time he began to think up ways of memorizing it with as much exactitude as was possible from a distance. His previous projects had included the reimagining of his homes –from his childhood in Seoul to his youth in the United States – and together they formed a kind of botanical album of his life: as if each house were the leaf of a tree pressed to preserve its exactitude. Perfect Home, an exhibition he staged in Japan, included several of Suh’s recreated houses.

Every detail of his apartment in New York, from the bathroom plumbing to the staircase banister or the fans, is disturbingly perfect. The extraordinary thing is that the model is meticulously sewn with translucent and fragile cloth. Perfect Home was the subject of a beautiful video directed by Nils Clauss.

The spaces we live in are not as solid as they seem, and are made of the same phantasmagorical material as dreams and memories.

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