Kwang Ho Kim

(South Korea 1965 -)


Graduated from College of Fine Arts and graduate School of Education in Kyung Buk National University. Completed Degree of Doctor in Fine Arts (A Study on the Korean Existentialism Sculpture).

Solo Exhibition (selected)
2018 The 20th Sagunja Sculpture Exhibition, Museum Soo Gallery, Daegu
2019 “Spring-Drawing flowers with wires”, Museum Soo Gallery, Daegu
2019 “Drawing lines with wires”, Sagunja Sculpture; Gallery Jeeum, Seoul
2019 “Drawing flowers with wires”, Samsung Raemian Gallery, Seoul,
2019 “Drawing lines with wires”, Sagunja Sculpture; Arti Vita Gallery, Seoul
2020 The 22nd Sagunja Sculpture Exhibition, Gallery Jeeum, Hong Kong

Group Exhibition (selected)
2017 Sagunja Sculpture Exhibition – Museum Story Work, Daegu
2017 Artist Association of Daegu Suseong-gu Exhibition
2018 A&C Solo Booth, Seoul Arts Center, Seoul
2018 Daegu Art Fair Solo Booth, EXCO, Daegu
2019 Solo exhibition, Samsung Raemian Gallery
2019 Sculpture exhibition, Arti Vita Gallery, Seoul
2020 Art Busan, BEXCO, Busan
2020 Inauguration exhibition, Gallery Jeeum, Hong Kong

Art Fair (selected)
2017 International Sculpture FESTA, Seoul Arts Center, Seoul
2017 International Art Show, COEX, Seoul
2018 A&C (Seoul Arts Center, Seoul
2018 International Sculpture FESTA (Seoul Arts Center, Seoul
2018 PLAS Seoul, COEX, Seoul
2018 KIAF, COEX, Seoul
2018 Daegu International Art Fair, EXCO, Daegu
2019 International Sculpture FESTA, Seoul Arts Center, Seoul
2019 KIAF, COEX, Seoul
2020 Art Central, Hong Kong


The shadow is a methodological instrument to search for an ego and to find an answer to the most fundamental and essential question of human beings, “Who and what I am?”

No object without shadow can exist. Every form and shape of the world, whether it moves or not, is a substantive three-dimensional structure. However, shadows constantly return and revert from the plane to the three-dimension in my sculptural works, of which the nature is three-dimensional. It is because this attempt to substantialize immateriality to materiality is a way of searching for another ego. A shadow that exists with light of Yang is Yin of darkness that exists only in Yang; thus, Ying of the shadow approaches me and becomes Yang to ruminate on emotions of life. Though the shadow is tacit-false substance that is not allowed to possess or touch, it can never exist without me and can never escape from me either.

Until now, expressions of my shadow have gone through a range of changes. After the process of creation of the early stage where I focused on spatiality (a shadow corresponds to concept of naught) emptying things by forming a background, I tried linear expression of a shadow, internal explanation of planarity, description of spatiality in planarity, and expression of sides and colours.

Later, in Sagunja, the Four Gracious Plants (plum, orchid, chrysanthemum and bamboo), the shadow produced from the process of substantializing the non-substantial shadow returned to the process of creating a non-substantial one again. Here, I pursued essential figuration of the object and embraced the blank space (margin) through the square frame, by way of relationship with space and modification of substantial figuration (juxtaposition by adjusting partial angle of figuration, adding some 3D space, newly interpreting and translating sides and lines).

Objects are three-dimensional containing space. Space is the void existed from the beginning, and it is a psychological space revealed only in a relationship between objects. As for sculptural expressions for Sagunja or the four gracious plants, I place the shapes of shadows, shown only in a relationship between an object and light, in a space to expand the substantial images of the four gracious plants in the psychological space where other shadows are being created.