Science Meets Art-Sui Park’s Woven Bio-Structures


Sui Park Sprout 2016 Flux Art Fair.jpg

Sui Park Sprout, 2016

Korean sculptor Sui Park’s (SPARK) work has a studied grace, expansive curvature seemingly wrought out of air and wire. All of this is brought into existence through a process that encompasses all the precision of handiwork with the largesse of architecture.

Combining every day and industrial materials, the artist takes her cue from traditional craft techniques, along with monofilament, and cable ties in works such as Flow. Made of plastic black cable ties, this work is often interpreted as a metaphor for marine life. Flow functions as a visualization of brushstrokes in the air, a mutable tension achieved by depicting abstract organic form through an industrial medium.


Sui Park Flow 2015.jpg



Flow 2016


Blue Print Philadelphia 2015 by Sui Park.jpg

Structure and embodiment are central to Sui Park’s practice, stunning armature revealed within lattice like constructions. The 2014 site specific installation Blue Print in an abandoned fabric factory explored the evocative power of the abandoned site. Focused on the colonnade (a fundamental component of the building’s structure) reflects the artist’s interest in revealing and aesthetics of architectural armature and underpinnings.


Sui Park Wiggling Series 2016.jpg

Wiggling Series, II-4

Sui Park uses mostly black and white color to express curvature, creating three-dimensional objects and spaces using two-dimensional materials through weaving and basketry, securing each object and space with monofilament and cable ties.

“These classic methods are used for building variety of objects as small as containers and clothes, and big as a house.


The sculptor’s process often emerges through an architectural working model, sketches and ideas are built conceptually and logistically, the structure becoming the exterior. Much of her work combines industrial materials with “natural” imagery, the intention being an evocation of the mystical or illusory. Sui Park seeks to reflect an ambiance that is seemingly static is in fact dynamic. Patterns and forms seem to echo the natural passage of time, and life cycles, an infinite rhythm that is reflected within the artistic process:

“A typical building process of basketry is comprised of twist and intertwines. Each step builds a row or plane that comprises a module. Making each module seems routine work, however, when modules are connected, it becomes a form of its own. I believe connected routine steps that form a pattern or a cycle magically leads to a character.

Through a connection of repetition, I attempt to capture a moment in time that encapsulates a certain point or steps in a dynamic or evolution. The encapsulation is an abstract form that is not limited to bio microscopic objects, but includes our values and sentiments, memories and expectations that may or may not change.” (Sui Park)


shell-emerge-art-fair-washington-dc-2014 S(H)ell, 2014

SHELL by Sui Park.jpg



Sui Park Spume 2015.jpg

Spume, 2015


RB: I noticed that your work incorporates negative space in a very dynamic way. Can you share your questions about the process, and your way of working through the interaction of open or negative space, structure and the viewer or visitor?


SP: I find less room to work with in a positive space. To me a positive space means that it already has a characteristic or identity that stands out in some ways. Negative space is hard to describe or characterize. Recently, a void space has been an extension of my work. My recent work explores anthropomorphizing, asking the questions:


  • What if a void space were a living organism?
  • What kind of structure contains the void? Old or new?
  • Does the space always stay empty or does it allow another entity to enter, and if so, how does this happen? Does the space welcome the intruder?
  • How would he or she survive and restore herself?
  • If the void’s priority is to reproduce itself as a way of surviving, then could it work like a lining / membrane that peels away from the original face of the void?
  • How would he fill his emptiness?
  • How would she express r her ego?
  • I attempt to visualize these questions and possibly bring the unnoticed to our attention.


Sui Park Brimming-Over 2014.jpg

Brimming Over, 2014





6 thoughts on “Science Meets Art-Sui Park’s Woven Bio-Structures

  1. Thank you for dropping me a line. Yes, the objects are very inspiring. I`ve prepared a post About the modern architect Zaha Hadid that I will publish in 1 week. Her organic, curvy buildings and product designs reminded me on the “bionic shapes & organisms” once more.

  2. I love it on first sight!

    Yes, I thought of organism like fungus or mold…or bionics…or material innovations for aircraft manufacturing for instance.

    Imagine if you are able to use a self-repairing / maintaining material.
    Aircraft., vehicles or other objects could simply “heal”…if you feed them.

    On the other hand the organisms seem to have friendly personalities…
    They seem to flexible and fragile but resilient at the same time.

    By the way, I don´t think that any emptiness exists at all.
    Your thoughts about voids, space and emptiness reminds me on the Japanese voncept of “ma” or ma-dori. (the consciousness of place, an awareness of form and non-form, a Kind of intensified vision). Ma takes place in the immaginationor experience, as far as I understood the Japanese concept.
    Making “place” is also understood as freeing your mind (Meditation) or related to innovation processes….thus, my association with aircradt structures & material Innovation can be finally explained while I am writing this comment….Amazing!

    Yes, I love this work! Thank you for sharing.

    1. Thank you for your interesting thoughts and ideas…glad to hear so much from a reader. Keep following and reading more about our artists please.

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