The sphere paintings are marked by incised lines or perforations, orbiting between the materiality and emptiness of the sculptural solidity that exists in a continuum. Along the metamorphic traces folding into the perceptual terrain beyond the plane, the gravity shapes the curvature in the stratospheric flux.
The forms undulate, fracturing the axis of space into optical reverberations that extend into the cognitive field, where concentric trajectories imprint a threshold of oscillation, mapping the tension between surface and depth. Through reflection and refraction, the orbs unsettle perspectival certainty, reconfiguring geometric continuity into a dimensional tectility.
The painting consists of flat tessellated planes that create chiaroscuro and metaphysical lineae in the viewers’ eyes, producing a sculptural sense of space and reflection. A word denoting the title of the work is juxtaposed within the painting, transforming alphabetical texts into numeric values, which are then transposed into colors, substituting the semiotic parameters.
The artist explores the liminal dimensions of the multi-layered nature and the possibilities of crisscrossing verbal and non-linguistic information, documentary materials and paintings, morphological and abstract images, and the exposé and concealed, or reality and simulacra.
Geometry becomes a language that flickers between presence and absence within a topological architecture of perception. There is a sense of movement without motion, of form held in weight, gravity, and rhythm. Opticality becomes substance, as repetition and contrast expand depth and space in a meditative dissonance.
This monochrome painting is an interplay of lines and phantasmagoric spatiality. The contrast evokes optical intrigue and aesthetic resonance, while vestigial threads form a liminal chiaroscuro, exploring the flux between minimality and complexity. Through the juxtaposition of light and shadow, the plane dissolves linear dimensionality, reconstituting a subime textuality upon a fractured surface.
(c) Kris Kim, 2025