Do ho suh had never heard of Rachel Whiteread when he planned to cast his studio in plaster. The Korean artist had never heard of Gordon Matta-Clark when he planned to start cutting holes through buildings.
His student years, as a naive young immigrant to America, were a series of forehead slaps as friends pointed to his brilliant ideas already manifest in books and magazines. But if being an outsider was frustrating, it was also the source of Suh's art. Moving between places and cultures led to him conceiving a way of engaging with architecture - or what he would call "space" - that was both his own and peculiarly appropriate to our time...
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