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    Unlike the previous version, I installed them all vertically. Additionally, I attempted to utilise the actual facilities in the room, so I hung the silicone on the pipes. The audience didn't easily notice due to the colour and height. To further enhance the concept of hand posture interaction, I believed that the silicone sculptures should have more intimate physical interactions with the handrails. Therefore, as people grabbed the handrails with their palms, I decided to create two holes and secure them between the handrails, ensuring the silicone would be tightly held. The human sense has various features and differs for each person, resulting in unpredictable outcomes and providing more opportunities to continue experiments. The importance of tactile experience became progressively apparent.
    Caption
    73 (ver.2), Minsuh Song | 송민서, 2024, silicone, metal, makeup product

    ©the artist

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    As I created different shapes of silicone with varying heights for the handrails, I wanted to observe the audience's response to the contrasting materials and heights. Due to the height difference between the handrails, it was interesting to watch the audience's posture as they reached for them. Also, with the various shapes and locations of the handrails, it was intriguing to see how people grasped them using different hand poses. Some individuals refrained from touching the handrail because it was perceived as artwork, while others simply wanted to interact with it. Thus, I was in a position to experiment with the audience. The irony in this work lies in the fact that, despite its focus on tactile experience and encouragement of touch, people found it challenging to grip the handrails due to the silicone. I introduced this obstacle to observe people's reactions to a unique object placed on a domestic and familiar item. The inspiration for the large vertical sculpture came from bus handrails. When we need to grasp a handrail in transportation or other situations where handrails are present, we often hesitate to touch or avoid grabbing handrails that are already being used by someone else, even if there is ample space to do so. The reason I named the work '73' is because it references the bus route from Kings Cross to Oxford Street, which I frequently take to go to college or spend time with friends. Therefore, as the longest handrail had more space than the smaller ones, people were more likely to grab and interact with it.
    Caption
    73, Minsuh Song | 송민서, 2024, silicone, metal and makeup product

    ©the artist

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    Circular door knob made of silicone, resin, clay, sesame, and fur.
    Caption
    Grab, Minsuh Song | 송민서, 2023, silicone, resin, clay, sesame, and furs

    ©the artist

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    Expanding foam and spray paint creeping down the last few steps of a metal spiral staircase.
    Caption
    Step by step, Minsuh Song | 송민서, 2024, expanding foam and spray paint

    ©the artist

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    Rubber gloves, beeswax silicone, speaker, motor and bricks.
    Caption
    Intentional and Unintentional, Minsuh Song | 송민서, 2020, rubber gloves, beeswax silicone, speaker, motor and bricks

    ©the artist

Minsuh Song | 송민서 – BA/BFA

Based in London and Seoul.

I construct spaces by curating sensory experiences and physical interactions. Due to the pandemic, there have been objects or situations that have resulted in a lack of sensibility and tactility. In my recent works, 73 series, I attached silicone sculptures to handrails to improve accessibility. The contrast between a fixed form of the handrail and the irregular shape of sculptures not only highlights the differences of texture and shapes but also encourages an immersive tactile experience for the audience.

My intention is to create a new form of documentation that allows the audience to freely respond to the work; even observations of the audience’s hand shapes and postures are considered part of the work. Thus, building interactions with the audience has led me to emerge from the exploration of art.