Born: 1980 Seoul, South Korea
Year of Migration to the UK: 2008
Biography
Artist Shan Hur was born in Seoul, South Korea, in 1980. Growing up in the capital of an ancient nation, he was surrounded by a sense of history and cultural heritage that deeply influenced his creative imagination. As a child, Hur would dig in the soil, uncovering fragments of broken vases he imagined as treasures from the past. These moments of discovery sparked his lifelong fascination with archaeology and exploration, themes central to his artistic practice. His mother, a dedicated painter, also profoundly shaped his understanding of art. Reflecting on his beginnings, he remarked, ‘My practice started when I was in her womb’ (Florr). During his undergraduate studies in sculpture at Seoul National University, a transformative moment occurred when Shan mistook a construction site within a gallery for a deliberate artwork. Though initially embarrassed by the misunderstanding, this experience sparked an enduring interest in the intersection of construction, deconstruction, and art. It was a pivotal moment that shaped his creative vision, inspiring him to explore the hidden narratives embedded within architectural spaces.
In 2008, Hur moved to London to further his education at the Slade School of Fine Art (University of London), where he completed an MFA in 2010. This pivotal relocation not only expanded his academic horizons, but also deepened his engagement with urban environments, which would become a cornerstone of his artistic practice. During his time at the Slade, he embarked on ambitious experiments that culminated in the creation of his first pillar installation in the school’s basement sculpture studio. These early works laid the foundation for his innovative practice of site-specific installations, challenging traditional perceptions of gallery spaces.
Shan’s artistic interventions blur the boundaries between art, architecture, and archaeology. By embedding objects such as coins, basketballs, or porcelain vases into cracked walls or fractured pillars, he transforms mundane architectural features into narratives brimming with mystery and intrigue. Critics have likened his works to catalysts, transforming the viewer’s perception of entire spaces, much like ink spreading through water (Florr). Hur’s practice evokes the thrill of discovery, much like a childhood game of hide and seek, as he masterfully conceals objects within fractured spaces. Through these interventions, he encourages audiences to become active participants in the experience, stimulating their imagination and curiosity. Central to Shan’s practice is his fascination with moments of transition in urban environments. He draws inspiration from construction sites and closed shops—spaces where the polished facade of the city temporarily reveals its raw, underlying structures. ‘The empty space of a gallery or museum always appeals to my imagination in the same way a painter sees a blank canvas’, he explained (Florr). By reconfiguring gallery spaces to resemble construction sites or archaeological digs, Shan redefines the role of the viewer, encouraging them to explore and discover. This ability to transform everyday spaces into sites of discovery has earned Shan widespread recognition. As Niru Ratnam, director of the Global Eye Programme, observed, ‘Hur’s work speaks of the transformation of Asian cities but in a way that is subtle and even elegiac’ (Hero). By exposing the layers of history and memory embedded within architectural structures, his art offers a poignant commentary on the impermanence of urban life.
The artist’s installations frequently evoke a sense of precariousness and transformation. Columns appear knotted, as though made of rubber, or fractured, seemingly on the verge of collapse. These interventions challenge conventional notions of stability and permanence, inviting viewers to reconsider their relationship with the built environment. At times, the works conceal unexpected objects within their structures, creating a playful tension between familiarity and surprise. This approach has been likened to a ‘private treasure hunt’, where everyday objects are recontextualised as artefacts of discovery (Widewalls). Materiality is also central to Shan’s practice. He often juxtaposes contrasting materials, such as heavy concrete blocks with lightweight basketballs, to create surreal compositions that challenge perceptions of balance and weight. His exploration of the interplay between strength and fragility resonates with viewers, compelling them to engage with the tactile and visual aspects of his work.
Shan has received numerous accolades throughout his career, including the Royal British Society of Sculptors Bursary Award in 2013 and first prize at The Open West in Cheltenham in 2011. He was a finalist in the Art Catlin Prize (2011) and the Oriel Davies Open (2012). He has also participated in prestigious residencies such as Kumho Art Studio in Seoul and the Youngeun Art Residency in Gwangju, Korea. Today, Shan divides his time between London and Seoul, continuing to explore the intersections of art, architecture, and human experience. In the UK public domain, his work is represented in the Government Art Collection.
Related organisations
- Slade School of Fine Art (student)
Related web links
- Artist’s biography, Widewalls
- Artist’s website
- Gazelli Art House
- Interview with Shan Hur, Florr Magazine, 9 February 2017
- Maisie Skidmore, ‘Art: Shan Hur Makes Installation Work to Question the Confines of Gallery Space’, It’s Nice That, 2 September 2013
- Niru Ratnam, ‘Niru Ratnam Selects London-based Korean Artist Shan Hur’, Hero Magazine, 10 October 2014
- Shan Hur and Aron Demetz, The Tainted, Meer, 14 May 2013
- Tommaso Berra, ‘The Everyday Archaeology of Shan Hur’, Collateral
Selected exhibitions
- An Eyeful of Wry, group exhibition, Brynmor Jones Library Gallery, University of Hull, Hull (2017)
- The Approach, group exhibition, Gazelli Art House, London (2015)
- The Door in the Wall, Gazelli Art House, London (2015)
- A New Column for Manchester, Manchester University, Manchester (2014)
- The Tainted, group exhibition, Gazelli Art House, London (2013)
- Soldier's Tale, group exhibition, Asia House, London (2013)
- Inclined Angles, Hanmi Gallery, London (2011)
- Bodhi, group exhibition, Gazelli Art House, London (2012)
- Per Annum: 12, group exhibition, The Contemporary London, London (2012)
- The Function of The Oblique - Part I: Resistance, group exhibition, Noformat Gallery, London (2012)
- The Function of The Oblique - Part II: Action, group exhibition, Son Gallery, London (2012)
- Place Not Found, group exhibition, Forman’s Smokehouse Gallery, London (2012)
- 4482 V, group exhibition, Bargehouse, London (2012)
- 4482 IV, group exhibition, Bargehouse, London (2011)
- The Open West, group exhibition, Gardens Gallery, Cheltenham, Gloucestershire (2011)
- Having a Dig, group exhibition, Arch402, London (2011)
- Acquisition, group exhibition, London Art Fair, Business Design Centre, London (2011)
- 4482 III, group exhibition, Bargehouse, London (2010)
- The Grass Will Grow Over the City, group exhibition, Hackney Wicked Festival, London (2010)
- CUBE Open 2010, group exhibition, CUBE: Centre for the Built Environment, Manchester (2010)
- Artist in Residence, group exhibition, HEAL'S, London (2010)
