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| Tang Chong Wing | |||
| Pang Kee Eng | |||
| Pang Hoi Seong | |||
| Lim Beng Teck | |||
| Johnny Lee | |||
| Crystal Cho | |||
| Choo | |||
| Tan Gek Lin | |||
| Tan Keng Joo | |||
| Priscilla Teoh-Stoute | |||
| Tan Siew Cheng | |||
| Henrietta Schricke | |||
| Carol Chow Kau | |||
| Lee Boon Choon | |||
| Seah Lei Choo | |||
| Tan Tiah Chang | |||
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| Jason Lim | |||
| Jessie Lim | |||
| Delia Prvacki |
| Sunsook Roh |
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Address: 13
Eastwood Walk, Singapore 486465
Sunsook Roh is an installation sculptor and performance artist currently based in Singapore and New York. She has exhibited installation sculpture and did performance works in New York, Japan, Singapore and Korea. Selected exhibitions and performances include ¡°The Reconstruction Biennial,¡± Exit Art, New York, ¡°100 Years 100 Dreams, (centennial anniversary of Korean immigration to the U.S.),¡± Space World, New York, ¡°Form,¡± Korean Cultural Center, New York, ¡°JAALA Exchange Exhibition,¡± Tokyo Metropolitan Museum of Art, ¡°Tree of Life V,¡± solo show at Sculpture Square, Singapore, and ¡°2010 Asia Contemporary Art / Now and Next,¡± Guangju National Museum, Korea. She obtained a BFA majoring in Sculpture with a minor in Art History from Parsons School of Design, New York. She also obtained a MFA in Sculpture from Bard College, New York.
Artist Statement: My recurring themes in art making include interconnected levels:
free energy flow that is the deterministic continuum of time, the
transience of our own existence and the temporality of life, and
the inevitable process of transformation that tests our limited
comprehension of the unpredictable, that leads to the final level
of my internal compass through my relationship with God. Transience is my own personal struggle, as I grapple with my identity
gained and lost through living in different countries. Singapore
as my new home for the past four years, I have made many new friends
and acquaintances here, who speak in different tongues. Transience
and impermanence are the reality that I experience as an ¡®in-betweener.¡¯
This process of personal experience finds expression in my art. Selected Exhibitions:
Education:
Recent Exhibitions: Speaking Wall This work is a maquette sculpture for a larger proposed installation for a site specific installation to be approximately 12 feet tall by 3 feet wide. The tongues are made of ceramic, and are embedded but protruding from a mound of sand and cement. I am conscious of a timeline in human experience, of the words being spoken and built consciously and subconsciously upon words that were spoken in the past. This work raises a question about the exchanges between our individual voice and those of our collective voices, as they play out time and again throughout the changing events of history.
My Tongue Will Speak I am raising questions about how, when and what we say, and how these words affect us all. The words from tongues can inspire, save and support, or they can hurt, demean and marginalize a person, not just here and now but across the generations and around the world. I made 200 tongues as a metaphor for spoken words, physically displaced and separated from the body. Tongues in different shapes and colors represent the voices of different cultures in socio-political context. With great speeches, common dialogues, wishing whispers or screaming words, and with time and culture in mind, we may find ourselves at times more disconnected than connected. The installation consists of resin, acrylic light boxes and a draped table. The large resin cast tongue mounted on the wall above is a metaphor for The eternal Word, which is the reference, influence, and cover for the expressions of the many parochial tongues on the light table below.
O¡¯ For A Thousand Tongues ¡°(Through men of strange tongues and through the lips of foreigners
) I will speak to this people, but even then they will not listen
to me,¡± says the Lord. 1 Corinthians 14:21 This is an installation made as a journey that evokes viewers to bridge their own messages of the past, present and future as well as the unchanging eternal voice from the higher presence. Through this journey, we may ponder messages that serve through all time, and reconcile them with what we express here in the present, as well as with how we imagine the dreams and aspirations of people who have lived in the past. The wall projection images are from resin cast tongues, in front of which are floating words and letters hanging from the ceiling. These are deconstructed texts from the Scripture shown above.
Mother Tongue ¡°Mother Tongue,¡± is a 15 minute performance piece created for the opening of the exhibition. The work consists of performers, microphones, and speaking stands of wood, resin and drapes. The speaking stands will remain as sculpture throughout the duration of the exhibition. The video documentation of the performance is being played continuously on TV monitor. With the identity concealed to the audience behind the draped speaking stands, the performers take position at their respective boxes. The first performer expresses his/her hopes and wishes in his/her native language, after which the other performers follow, one-by-one accordingly. Spoken languages will include English, Hokkien, Mandarin, Hindi, Tamil, Korean, Malay, Spanish and Myanmar. At the end, all of the performers will speak simultaneously turning the messages into some indecipherable blur of sound, without reference to human physical reality except for the tongues and voices.
Tree of Life V: Landscape of the Psychology
of the Mind This sculptural installation, ¡°Tree of Life V,¡± is a continuation of my exploration about the transience of life that I have been pursuing in my ¡°Tree of Life¡± series, which delves into concerns over time, origin and memories. ¡°Tree of Life III¡± refers to the physical domain and how the body defends and heals. ¡°Tree of Life IV¡± refers to the external environment as an inspiration for the nurturing processes of life. In ¡°Tree of Life V,¡± I take the journey inward, into the psychological landscape of the mind, referring to the way that we cope, code and recollect our experiences. How do we perceive, connect and experience and then store those experiences into memories? What does memory mean in relation to the transience of our being as we age, forget and ultimately die; and what does it mean as memory changes and evolves through new experiences into a new memory, in a state of constant flux as it passes from person-to-person, building up the branches of human history. The architecture of the installation has been made inspired by
how billions of nerve cells inside our brain transmit messages by
receptors and make possible memory and other functions of the human
mind, our source of humanity. At a macro level, I made the trunk
of a tree with branches (of fiberglass, polymer and wire mesh) to
suggest the blood vessels that nourish the brain. At the micro level,
to suggest the myriad web of neurons, I built fiberglass/resin shells
of domes and half-domes interconnected by vines made of polymer
and wire. The interior or exterior of the dome shells harbor surprises
of some mysterious growth, a metaphor for neuron receptacles that
code, store and retrieve information.
Let the Rivers Clap Their Hands ¡°Let the sea resound, and everything in it, the world, and all who live in it. Let the rivers clap their hands, let the mountains sing together for joy.¡± Psalm 98:7-8 This is a new installation project that expresses my concern and desire for societal harmony among people of the world. I used natural media, including clay, wood and sand to depict the movement of water as the progression of life. The tightly woven sinuous swirl of the tables suggests a great turbulent energy created by the merging of symbolic sources of water, whether cascading down terraces, as from the highest tables, or bubbling up from an unseen subterranean origin, as from the lowest tables. Often throughout history where rivers merge great civilizations have sprouted, such as at the Ganges, Yangtze, Euphrates, Tigris, Nile, etc. Despite their different points of origin and different journeys, with water as their commonality, they forged an even greater river. Likewise we have different cultural origins and experiences, but a common destiny. While trying to interact with one another, we see frictions like the churning of water when rivers of different sources meet. This is a metaphor for how our contemporary societies of different cultures can result in social conflict and chaos rather than in a peaceful harmonious exchange.
Pulse ¡®I planted the seed, Apollos watered it, but God made it grow.¡¯ 1 Corinthians 3:6 This work is about pulse or rhythm of life, which essentially comes from the sound of dripping water. The water comes from bowls hanging from the ceiling that drip at various rates; some fast and some slow; with the drops falling on different objects on a table. The sound is amplified through hidden multiple small microphones under the objects. I filled the bowls of different sizes with water and by using intravenous lines and the clamping valve mechanism, the rate is controlled at different speeds. The infusion lines become lifelines of the circulatory system in the city (the table set up) with its life sustaining water supply. Since the constant dripping results in an accumulation of water on the table, I built a drainage system, which then feeds the plants on the floor and suggests an interconnected eco system. I would like viewers to come to this installation and sit down, listen, and watch and maybe even go into meditative state and wake up to realize his or her own real pulse of life.
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