Empty space often reveals more than tangible form itself. It may exist as the margin surrounding a form, a passage connecting interior and exterior, or a place where the viewer's gaze, imagination, and contemplation come to rest.

Gwon Osang has long explored the relationships between form and structure, surface and space, by employing photographic images as sculptural material. For him, photography is not a medium of documentation but a sculptural element. Cut apart, layered, and reassembled, photographic images are joined together to produce forms that are at once geometric and distinctly tangible.

This exhibition presents a selection of works from the artist's major series alongside several new pieces. Faces and bodies, objects and landscapes, and diverse forms discovered throughout the history of sculpture are reconfigured through the artist's hands into unfamiliar combinations and new relationships. Familiar images no longer point to specific subjects but expand into sculptural landscapes, revealing new layers of imagery and memory.

The apertures and voids that appear throughout the exhibition are particularly significant. In modern sculpture, the opening was never understood simply as the result of removing material. Rather, it functions as a formal device that connects the front and back of a sculpture while unifying its interior and exterior into a continuous spatial field. In Gwon Osang's work, these voids play an equally essential role. They are not merely empty spaces but architectural elements that support form itself, encouraging viewers to understand sculpture not as a single solid mass but as a complex structure.

The reliefs mounted on the wall and the freestanding sculptures simultaneously assert their physical presence while containing unexpected depth. Our gaze drifts through their openings and permeable structures, moving between inside and outside. Form generates space, and space, in turn, completes form.

《Passing through the Void》 proposes new ways of seeing sculpture and expands its possibilities through the work of Gwon Osang, whose practice continually traverses the boundaries between photography and sculpture, surface and volume.

References

• 《Passing through the Void : 허공을 통과하며》