"The viewer witnesses the lived past of time as it continues to flow."

The "time lag" paradoxically refers to the "now" that is present as a result of the production.

-Pure continuity as a direct stream of consciousness.

In the series of works titled "Works of Linear-Actions," which began in 1999, I draw lines or cut layers on paper, like tree rings or waves, to create another topography physically and emotionally. I dare not touch the material of paper itself, but keep a distance from it in a minimalistic way, as a complete otherness.

As time accompanies each cut of paper, I believe that the act of creation is an act of connecting the "delay," so to speak, to the present by following the form visually or by following the gradation.

The act of cutting has now become my "language of expression".

And now, as I encounter the philosophical transformation from "nature" to "physis" (nature), I reaffirm that art is "artificial," and through my work, I produce a piece of “now".

In the hanging sculptures, as soon as cutting and the connections between the forms are severed, the paper loses its balance due to gravity and hangs down, creating a large distortion. The paper is then re-cut (trimmed) one by one until it is in balance. Gradually, the missing form becomes larger, and the approach of the viewer's eye shifts to the void form=holes.

The "time lag" between the material (object = work) as a shadow and the spiritual realm of "I", coexists like a backbeat. As like the moment of the cut-out cross section - existing between countless moments (layers) of this world.

Now that we have experienced a pandemic and are confronting a major global transition, the brakes will not work on the accelerating speed of the human brain's entry into the virtual space. Now called old media, using sculpture as a medium of expression, the past as memory, the present as perception, and the future as expectation are gradually fleshed out as I move back and forth in the process of creation. The gradations of time become layers and are connected perspective-wise. Through the smallest act of a human aiming, and the continuity of the process of emerging a form subjectively, it's sculpted toward otherness. Basic updates that search for order occur in everyday life.

On the other hand, cutting on paper as printed matter inevitably takes on meaning and develops conceptually.

In the existing information fields such as textbooks and junior high school students, artists' catalogs and newspapers, etc. I continue to explore the relationship (where the subject resides) mediated by the holes made by cutting as the "language of expression".