Shan Hur’s sculptural interventions disrupt the viewer’s perception of the gallery space acting as a white cube or art container by directly implicating the gallery as an active element in the artwork itself. The ideas which inform Hur’s practice derive from a careful examination of construction sites and closed shops, as he is fascinated by the moment of transition when a particular space is reconfigured for a new purpose. During this transition the polished veneer of the city is temporarily removed, thereby exposing its farcical nature, and the mechanisms by which this veneer is generated.
