Jong Oh (b. 1981) has been creating works that sculpturally visualize the architectural elements of a given space and the invisible sensations inherent within it. His practice employs minimal materials such as fine threads, lightweight chains, and thin wires, inviting a fresh perception of objects and the spaces that surround them.

Beginning in 2009, Jong Oh's early ‘Found gesture’ series centers on everyday objects discovered in his surroundings. The artist collects items such as stones encountered on the street, makeup brushes, wood, and chairs, then deconstructs their forms or utilizes their materiality sculpturally to transform them into new objects that harmonize with the physical conditions of the exhibition space. 

While the material characteristics of these objects play a significant role in his works, the artist simultaneously incorporates the invisible force of gravity and its unstable nature into his installations. For instance, by introducing mechanisms that counteract or interact with gravity’s pull, which directs weighted objects downward, he evokes subtle tension and harmony within the space.

Another early work by Jong Oh, Treeangle (2012), is a site-specific project centered on trees in an outdoor park. This work stemmed from the artist’s contemplation of what could be done within an already existing place and structure such as “nature.” 

Focusing on the elasticity of tree branches, Oh installed barely visible fine threads stretched taut across the branches. Treeangle, which reveals itself only upon close inspection, resembles geometric line drawings that blend harmoniously with the organic forms of the branches, evoking an extraordinary experience in a familiar setting. 

Jong Oh's ‘Line Sculpture’ series (2013–) highlights sculptural elements by utilizing simple materials such as thread, wooden sticks, and pencil lines to create three-dimensional geometric forms. The delicate frames of these sculptures visually partition portions of the exhibition space, temporarily defining condensed internal spaces within the works.

The geometric patterns, resembling grids, evoke a sense of cool detachment, yet subtle warmth is simultaneously introduced through handcrafted details. For example, rather than using machine-processed black thread, Oh deliberately opts for white thread and manually applies paint or charcoal powder to its surface.

The artist explains that his incorporation of handcrafting stems from his desire to avoid evoking the serious and mechanical processes associated with American minimalism. Instead, he aims to create “warm geometric works,” reflecting a long-held aspiration in his practice.

While the ‘Line Sculpture’ series emphasizes linear elements, Jong Oh's ‘Folding Drawing’ series (2016–) reveals the artist's exploration of planes. Created on a relatively smaller scale, ‘Folding Drawing’ investigates profound dimensions through the concept of "folding" planes. 

Using wooden panels as the primary sculptural material, Oh crafts various folded forms and paints them white. Thin black chains or wires are then installed alongside, creating the impression of a three-dimensional drawing unfolding on a white canvas.

Extending from ‘Line Sculpture’ and ‘Folding Drawing’, Jong Oh’s ‘Room Drawing’ series (2016–) takes the entirety of the given exhibition space as its subject. This work begins with a meticulous observation of the space, examining not only its architectural elements but also subtle traces left by its use, as a way to engage in a dialogue with the space. 

Oh describes sensing a quiet “resonance” through his interaction with the space. In response, he creates ‘Room Drawing’—a three-dimensional geometric installation composed of the same delicate and minimal materials used in his earlier works. The installation floats throughout the space, guiding the viewer’s gaze and reshaping their perception of the environment.

In Room Drawing (found objects) #1 (2018), Jong Oh revisits his early ‘Found gesture’ series by incorporating objects he stumbled upon by chance. During the exhibition, the artist completed the work using everyday items collected from the streets, such as tree branches, padlocks, parts of umbrellas, springs, rocks, chains, and flowers.

Rather than presenting a finished form, the work unfolded like a narrative, with the artist adding newly gathered objects each morning. As a result, the piece transformed daily throughout the exhibition period, allowing the viewers to witness the evolving process as part of the artwork itself.

The ‘Room Drawing’ series traverses space with linear elements, much like the ‘Line Sculpture’ series, while also forming small, condensed spatial sensations created by the folding of planes, reminiscent of the ‘Folding Drawing’ series. Furthermore, the series extends to interact with architectural elements such as corners, windows, and columns, guiding viewers toward a more spatial dimension of appreciation. 

As viewers follow the drawings Jong Oh creates throughout the space, the interplay between the work and its surroundings appears to change depending on their perspective. Lines may transform into planes, and vice versa, creating an illusion of stepping into a mutable, ever-shifting space.

In his practice of visually translating the invisible sensations inherent in space into constructive forms, Jong Oh has recently introduced LED lighting as a new material. Last year, in his solo exhibition 《white》 at Perigee Gallery, the artist explored the theme of "white" through the installation Light Drawing (room) #1 (2024), composed of white light and fabric. 

The semi-transparent white fabric surrounds the LED light installations, which blend straight and curved lines to emit a soft white glow, dividing the space. The interplay of light and fabric at the boundaries creates a rich array of visual experiences. Depending on the degree of fabric overlap and the viewer's movement, the light may appear fully bright, completely obscured, or even fragmented into multiple beams, offering a dynamic and immersive sensory encounter.

A key element of this work is the cyclical structure created by the interplay of light and fabric. The light within the space is not fixed but constantly changes depending on the movement and gaze of the viewer. Through this, Oh encourages the viewers to feel the rhythm and resonance inherent in the space.

In this way, Jong Oh’s work begins with a dialogue between the given space and the artist, translating the sensed "resonance of space" into a sculptural form. The works he creates guide the viewers to detect some invisible rhythm or resonance within the space, shedding new light on the diverse sensory dimensions of the environment.

“I begin all my artworks by first calmly observing the space I’m working in, and therefore, sensing and understanding the reverberations of the architectural space is extremely important for my works. When I first come into contact with a new space, I always get a sense of these low reverberations, which likely come from the weight of the stone or steel used in its construction, or the heavy geometric structures of the straight lines of the space and the heavy sense of rhythm that they create.
 
Regardless, rather than completely monopolizing the space, this echo, as a form of emptiness, wraps itself around and caresses everything that remains in the space while vibrating lightly and softly. Within the freedom permitted by this vibration, I forge ahead with my work as if attempting to complete this tone.” (Jong Oh, Artist’s Note)

Jong Oh received his B.F.A in Sculpture from Hongik University in Seoul and M.F.A in Fine Arts from School of Visual Arts in New York. His major solo exhibitions include 《white》 (Perigee Gallery, Seoul, 2024), 《Merestone》 (Sabrina Amrani Gallery, Madrid, Spain, 2023), 《First Echo》 (ONE AND J. Gallery, Seoul, 2022), 《Double Sided》 (CR Collective, Seoul, 2022), 《A Pause on the Arc》 (DOOSAN Gallery, Seoul, 2021), and 《Corner Dialogue》 (Seoul Museum of Art, Seoul, 2018).

He has also participated in numerous group exhibitions, including 《Reconstructing Sequences》 (National Asia Culture Center, Gwangju, 2024), 《Off-Site》 (Art Sonje Center, Seoul, 2023), 《Post Media And Site》(Busan Museum of Art, Busan, 2023), and 《Negative Space》 (ZKM, Karlsruhe, Germany, 2019).

Oh received the 33rd Kim Se-Jung Young Sculptor Award in 2022 and the Excellence Prize at the 20th SONGEUN Art Award in 2021. Also participated in the artist-in-residence program of DOOSAN Residency, New York (2021) and many more.

References

• 오종, Jong Oh (Artist Website)
• 두산아트센터, 호 위에 선 (DOOSAN Art Center, A Pause On The Arc)
• Rader Seoul, 오종 – “시적인 기하학”, 2023.09.08 (Rader Seoul, Jong Oh – “Poetic Geometry”, 2023.09.08)
• 원앤제이 갤러리, 낮은음으로부터 (ONE AND J. Gallery, First Echo)
• 페리지갤러리, white (Perigee Gallery, white)