Jeenho Seo

2023

Epoxy resin, zip-up hoodie, styrofoam

9 x 9 x 9 inch (23 x 23 x 23cm)

Photo: Paul Rho, subtitled NYC

2023

Epoxy resin, cotton shirt

11 x 2.5 x 4.5 inch (28 x 6.5 x 11.5 cm)

Photo: Paul Rho, subtitled NYC

Video

2023

Embroidery thread, epoxy resin, bleached clothings

Dimension variable

Photo: Paul Rho, subtitled NYC

2023

Embroidery thread, epoxy resin, bleached clothings

Dimension variable (object 3/4 x 3/4 x 3/4 inch. 2 x 2 x 2 cm)

Photo: Paul Rho

2022

Rice, various packaged food and drinks, polyurethane, poly-optic, polyester, wood, plexi-glass, ball bearing swivel

19 x 19 x 3.5 inch (48 x 48 x 9 cm)

Video, Text

Photo: Jennie Gorman

2022

Oil on canvas

16 x 20 inch (40.5 x 51 cm)

Photo: Jennie Gorman

2022

Kimchi ramen, polyurethane

3 x 2 x 4 inch (7.5 x 5 x 10 cm)

Photo: Jennie Gorman

2022

Thermoplastic polymer, screws

7 x 9 x 30 in (18 x 23 x 76 cm)

Text

Photo: Jennie Gorman

2022

Packaged seaweed soup, poly-optic, plate, folk, knife, white bread, polyurethane, porcelain bowl, packaged spicy mushroom soup, rice, stainless bowl, spoon, chopsticks, lacquer on thermoplastic polymer, green tea bag, cup

Site specific installation

PR, Text

Photo: Jennie Gorman

2021

Shredded artist’s worn sneakers, epoxy resin

each, 6 x 12 x 5 inches (15 x 31 x 13 cm)

Press Release

Photo: M23 Gallery

Video

2021

Wood, steel, threaded rod, plexiglass, used clothings, Industrial textile shredder made by Filamaker, E-drive 60Hz motor, VFD(Variable-frequency drive), 10/4 AWG SOOW bulk wire cord, electric/legacy relay, momentary push button switch, stop push button switch, motion sensor.

Dimension variable(84 x 288 x 48 in), two main structures installed at 18ft, 10ft above the ground.

Text by Kevin Hong

Photo: Jackie Furtado, Merik Goma

Video: Jackie Furtado

Video

2020

Single-channel video

00:27:48

vocal credit to Saejun Kim, Passerby, and Lucas

Photo: Riley Duncan

Video: Jeenho Seo

2019

Dry erase paint on Steel, Aluminum, cork, chain, extension spring, screw lock carabiner, magnet, pencil cup, whiteboard markers

126 x 14 1/2 x 14 in (320 x 37 x 35.5 cm)

Video, video2

Video

2018

Single-channel video

00:01:05(excerpt)

These stills are from the video documentation I took of a performative sculptural intervention I produced in an urban square near Seoul Station.

Using popular imagery relating to the ideal of peace, I made a sculptural dove using popcorn and placed it next to an olive tree. As pigeons set about destroying the sculpture, the olive tree remains static, like a passive spectator, witness to the atrocity of the masses ravaging peace.

2018

Goldfish, water, air filter, glass, dining set, wooden table and chairs

47 x 79 x 33 in (121 x 200 x 84 cm)

I used a table set from IKEA and intervened by removing a section from its centre and adding a customized narrow fish tank. There were twenty gold fish and an oxygen pump in the tank. Visitors were encourage to sit down to this suggestion of a model domestic meal, which was interrupted by the surreal placement of the living fish, bisecting their imagined dining experience.

Photo: Jaewook Kim

2018

Tights, cotton, white sand on wooden panel

This is a wall-mounted assemblage comprised of sanded panels, re-purposed tights and cotton batting. Drawing from research into the significations of shield emblems, I was trying to subvert some of the machismo implications of shields and the institutions affiliated with their usage, whether corporations, schools, football clubs or security agencies. Much like my earlier work with clothing and textiles, this series also recombines everyday materials to arrive at new meanings.

Photo: Jaewook Kim

2018

Tights, cotton, nails, white sand on wooden panel

each 36 x 28.5 x 2 in (90.9 x 72.7 x 5 cm)

Photo: Jaewook Kim

2018

Tights, cotton, white sand on wooden panel

36 x 28.5 x 2 in (90.9 x 72.7 x 5 cm)

Photo: Jaewook Kim

2018

Scaffolding, ladder, camera, portable photo printer, metal pipe, hanger, clothes 

Site specific project

This is another performative installation, produced concurrently on another floor of the same construction site with <Beautiful mind>. My interest in the rawness and permissibility afforded by this space is in dialogue with unsanctioned or non-institutional forms of art-making. You could think of it as a “happening” or a more event-based artwork that seizes upon under-used spaces to make encounters possible outside of the gallery system.

On the left, there is a long exposure camera for recording participants’ movements, as well as an instant-photo printer. On the opposite side, I installed a hanger filled with various articles of clothing. Participants were prompted to look through the racks for an item of clothing that they felt was expressive in relation to their identity. Using only their mobile phone flashlights as a focused source of light, their engagement with the rack produced imagery that details the traces of their searching as one continuous, long exposure photograph.

Photo: Jaewook Kim

2018

Wood, PET, vinyl, screws, used clothings, LED light 

Site specific installation

This is a participatory installation produced in a construction site. It’s made with hundreds of articles of used clothing, which are tied to an armature. I exhibited this work at night with all the lights off, apart from a 5m long LED-light contained in the core of the work, which pulsed repeatedly, like a heart beat. I provided a jar full of chemical lights so that the viewers could apply them to my work.

Photo: Jaewook Kim

2018

Digital print Edition of 5 +2 AP

For these staged photographs, I drew an emoticon on a mirror and attached it to a t-shirt. I asked various participants to wear this t-shirt and then documented our interactions until the reflection of my face aligned with the iconic smiley-face. The title relates to the numerical data-stamping of image files and implies the number of trials needed to arrive at the “right” documentation, a gesture intended as commentary on the obsessive, self-presentational aspects of our image-saturated culture.

Photo: Sungchul Ryu

2018

Rubber, helium, rope, clear epoxy resin

Dimension variable (up 16’ x 12’ x 12’ ft, down 11 x 8 x 8 in)

This work was installed in an empty field adjacent to a suburban housing development near Seoul. The upper balloon is filled with helium gas and the lower object is a cast of the interior volume of a regular inflatable balloon. My interest in public space and urban issues led me to produce this work without seeking permission to install it. In fact, the work only survived a few days as civil complainants informed the Police, who forced me to dismantle the work. Ambiguous forms of communication are not often tolerated, especially in the politically charged context of South Korea.

Video documentation

2015

Reflective tape, clear epoxy resin, silicon, metal wire and hardwares

71 x 55 x 4 in (180 x 140 x 10 cm)

The bricks are casts made of clear epoxy resin and I embedded reflective tape inside some of them. The tape outlines a composite image I made of my parent’s facial features, collaged onto the outline of my face. The combination of image-oriented forensic portraiture with a materially uncanny transparent architectural element is an example of the associative juxtapositions I strive to make in my practice.