Born in Seoul, Korea, internationally acclaimed Do Ho Suh (b.1962) received a BFA in painting from Rhode Island School of Design and an MFA in sculpture from Yale University. His large scale, site-specific fabric installations and sublime compositions often draw attention to themes of cultural displacement, space, identity, collectivism and memory. Characterised by a transnational dilemma of home and belonging, his works provoke viewers to think about their own stories that define their real and imagined lives. The artist lives and works in New York, London and Seoul.

Named WSJ Magazine’s 2013 Innovator of the Year in Art, Suh’s work has been added to notable permanent collections including the Museum of Modern Art, New York; Whitney Museum of American Art; The Solomon R. Guggenheim Museum; Museum of Contemporary Art, Los Angeles; Leeum, Samsung Museum of Art, Seoul; Artsonje Center, Seoul; Mori Art Museum, Tokyo; Tate Modern, London; and Walker Art Centre, Minneapolis, amongst many others.

Do Ho Suh’s works reflect the transnational dilemma of home and belonging, malleable space and memory, and the boundaries of identity. Suh broke new ground in 2009 creating “thread drawings” embedded in paper, leading to a long-term collaboration with STPI in developing thread drawings of greater complexity and scale. Suh’s new body of 3-D thread drawings titled Specimens (2015), which makes its debut in Miami, renders 1:1 scale architectural elements and fabric sculptures in paper. Alongside these, sculptural paper works from Suh’s ongoing series Rubbing/Loving are also on show. The works act as symbols of memory, as within them the artist preserves his experience of living within spaces of attachment through rubbing pastels over paper-covered surfaces. His lithographs of his self-portraits, on the other hand, are honest and direct engagements with the material, highlighting the value of drawing as an artistic form for the site-specific, multimedia artist.


Alfredo Juan (Philippines, 1962) and Isabel Aquilizan y Gaudinez (Phillipines, 1965) are currently based in Brisbane with their five children. The artist-duo’s collaborative activities evolved within the spheres of family and community, including personal relationships and those they share with other artists. For years they have been exploring the meaning of ‘home’ and a sense of ‘belonging’ while travelling extensively for work, finding and defining the notion of ‘identity’, dealing with hardships of journey, displacement, sensing presences in absence and accumulating memory. They continue to process these issues through materials and objects that are both abstract and referential, objects that serve as metaphors of everyday human life. For the past ten years they have continuously collected fragments of their protracted “Project Be-longing” (1997-2007), an artistic collaboration spanning ten years.

The artists have participated in a number of international biennales and exhibitions including the Sharjah Biennale, UAE (2013), Asia Pacific Triennale, Australia (2009), Singapore Biennale (2008), Adelaide Biennale, Australia (2008), Biennale of Sydney (2006), the Third Echigo-Tsumari Triennale, Japan (2006), Gwangju Biennale, Korea (2004), La Biennale de Venezia, Italy (2003) and many others. Currently they are working on the following projects :Yes Naturally, The GEM, PhotoMuseum and Gemeentemuseum the Hague, Netherlands; FRAGMENTS : A Survey, Institute of Modern Art Brisbane, Australia; New Work/Old Work, Queensland University of Technology Museum, Brisbane Australia:In-Flight III, National Heritage Board, Singapore; Moscow Biennale,Moscow Passing Through: Project Another Country; 21st Century Museum of Contemporary Art, Kanazawa, Japan In Habit: Project Another Country; Lake Macquarie Art Gallery, Lake Macquarie, NSW Australia, In-Habit Touring Sherman Contemporary Art Foundation, Sydney, Australia with Museums and Galleries NSW.



Following her residency at STPI in 2015, Singaporean artist Jane Lee has returned time and again to develop more works in mediums she first encountered in the Creative Workshop. Her explorations have taken her down a different route from her tactile practice of challenging notions of a painting. As one who is interested in pushing the limits of materials and techniques particularly in painting, examining its processes, significance and relevance in contemporary art practice, Lee has applied these to the mediums of print and paper, producing ethereal works and dynamic installations centering around the concepts of liberty and entrapment.


Returning to the studio is Sydney-based artist Suzann Victor, whose explorations in the Creative Workshop back in 2014-15 led her to develop a unique body of work that mark a radically different course from her usual use of theatrical devices, kinetic mechanisms, performance installations and object experimentations with the body and chandeliers. Victor incorporated her skills as an abstract painter and performance artist, in site-specific installations at STPI where use of light, Fresnel lenses and the recurring motif of concentric circles were adapted in print and paper. She returns this time to expand on these explorations.