After visiting Do Ho Suh’s recent solo exhibition at Tate Modern, I felt a deeper resonance with the idea of space as a psychological structure. The translucent fabric architectural works presented in the show made me realize that space is not merely a backdrop for memory—it is a vessel for emotion itself. Suh reconstructs the places he once lived in a ghost-like manner; these fabric spaces are both soft and precise, serving as shadows of architecture and, at the same time, shells of feeling.

 

His works reignited my interest in what I call “threshold spaces.” Suh does not emphasize the functionality of architecture, but instead highlights transitional zones—doorways, hallways, corners—that are often overlooked in daily life. In the exhibition, however, these in-between spaces became emotionally charged. This closely echoes the themes of my own practice: I have long depicted doors, windows, staircases, and distant coastlines—fragmented and incomplete spaces that mark the edge of emotional experience, acting as points of return and resonance.

 

Moreover, Suh’s treatment of “home” led me to reflect on my own life in London. For him, home is not a fixed geographic location, but a psychological landscape constructed through experience, emotion, time, and physical form. I began to recognize my own fixation with certain spatial symbols—much like his recurring doors and corridors—as a continuous search for a place of belonging. The seemingly isolated images in my drawings are not merely fragments of memory, but attempts to approach the elusive question of what it means to inhabit a space, emotionally and existentially.