The Great Void

   "The Great Void" was created during my exchange at Edinburgh College of Art, responding to the traditional sculptures in the Sculpture Court. Instead of a conventional piece, I explored the invisible structures that support sculpture but remain unseen—such as modeling tables, clamps, and coverings.

   I stacked modeling tables into a towering form, secured them with clamps, and placed a chair at the top to suggest a human figure. The entire piece was covered with a dust sheet and tied with ropes, resembling a veiled monument. However, the interior was completely empty, revealing the contradiction between grandeur and hollowness—a structure that appears monumental yet contains nothing.

   This work redefines sculpture not as a self-sufficient object but as something dependent on external support. By highlighting these usually hidden elements, The Great Void challenges the authority of traditional monuments and exposes the irony within sculptural presentation. Through its engagement with surrounding structures and spatial relationships, the work transforms the exhibition space into a performative environment, where the boundaries between presence and absence, support and sculpture, become fluid

   By shifting connections and placing elements in parallel, the work dismantles existing dynamics, emphasizing transformation, instability, and continuous change.

Untitled

During my early days studying in the UK, I participated in an open studio event. However, sourcing materials for my work proved challenging. Local hardware shops carried unfamiliar materials, and my limited English proficiency made inquiries difficult.

   As a result, I gathered discarded scraps—plywood, boxes, and packaging materials—from around the studio and workshop. I initially assembled them into a structured grid-like form, but dissatisfied with the result, I dismantled the piece. Unexpectedly, the scattered fragments on the floor created an unintentional yet compelling composition.

 Stepping back, I noticed how the displaced materials blended naturally with the surrounding space—cardboard covering a desk, tape marks on the floor—all merging into what felt like a complete installation. This experience led me to reconsider sculpture not as a deliberately finished object, but as something that can emerge organically from its environment. I became increasingly interested in how discarded materials could form new relationships and compositions, shaping works that evolve from their surroundings.