The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

"Objecthood" is a concept that emerged from minimalism, often translated as "objecthood" or "materiality." It aims to strip objects of unnecessary elements, focusing on the essence of the object and the inherent properties of the material, to present works that are non-imitative and non-representational.

Based in Busan, Objecthood Gallery seeks to introduce the artistic worlds of emerging domestic and international artists who understand and interpret this pure concept of objecthood. The gallery also serves as a new platform to offer moments of relaxation and leisure in our modern lives.


OBJECTHOOD

Frosted Starlight

Secret Forest

Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

Architecture is a practice of space and design—and also of sociology, history, philosophy, literature, and more; it is art in action and interaction, use and relation. Directed by an architect, “The Untitled Void” is a space intended for thought, inviting the formulation of new and living questions rather than the simple display of packaged conclusions.

The Untitled Void values collaborative process as a part of our curatorial approach. We are committed to showcasing artists and projects that trouble binaries and transcend the ego, boldly engaging the issues of our shared past, present, and future. We place no limits on genre or medium; we love to be surprised and challenged.

The Untitled Void

Filling in Black

In the works of Son Jeong-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure set within vast landscapes reveals both the minuteness of human existence and the profound depth of contemplation that becomes possible within silence. Standing before his paintings, viewers experience an inner expansion borne from the stillness of nature.

Amid an era of noise and information overload, Son guides us toward recovering silence, calm, and inner reflection. Viewers step into the scene as the lone figure, walking through quietness and entering a state of contemplation. That tranquility empties the self, opening a space that can be filled again—a space where new insight and subtle movement emerge even within a moment that appears completely still.

Beyond Uncertainty

Fading Light

A Forest that Asks Nothing

The Way of Silence

Abyssal Emanation

Through the Forest

Entangled  Flow

n the works of Son Jeong-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure set within vast landscapes reveals both the minuteness of human existence and the profound depth of contemplation that becomes possible within silence. Standing before his paintings, viewers experience an inner expansion borne from the stillness of nature.

Amid an era of noise and information overload, Son guides us toward recovering silence, calm, and inner reflection. Viewers step into the scene as the lone figure, walking through quietness and entering a state of contemplation. That tranquility empties the self, opening a space that can be filled again—a space where new insight and subtle movement emerge even within a moment that appears completely still.

Walking Alone

Paths

Jaehyuck Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

Tipping Point-密-11

Tipping Point-形-11

Toward Silence

A Journey Into Uncertainty

aehyuck Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

tipping point-110

n the paintings of Son Jung-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure within the vast landscape reveals how minute human existence can be, and yet how profoundly one is able to contemplate within such quietude. In his works, the viewer encounters an expansion of the inner self through the stillness that nature affords.

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