Arario Gallery Seoul welcomes audiences to the thought-provoking solo exhibition Lost in Garden by the celebrated Korean sculptor KIM Byoungho. Spanning from December 26, 2024, to February 8, 2025, this exhibition showcases 15 meticulously crafted sculptures and installations across three floors, inviting visitors into a space where artistic precision meets philosophical inquiry.

Born in 1974, KIM Byoungho has established himself as a pioneering figure in contemporary art, renowned for his innovative use of metal as his primary medium. With a solid foundation in fine arts from Hongik University and advanced studies in technology art from Chung-Ang University, KIM bridges the worlds of engineering and aesthetics. His works emerge from detailed design blueprints, executed through a highly systematic production process, reflecting the mechanized structures of modern civilization.

The exhibition’s title, Lost in Garden, metaphorically encapsulates KIM’s artistic philosophy. To him, a garden represents a meticulously curated space, much like the social systems that define human existence. In this context, his sculptures function as "products" of civilization—shaped, refined, and constrained by societal norms. Through his work, KIM raises questions about human psychology, the pursuit of order, and the existential complexities of life in a rationalized world.

The centerpiece of the exhibition, Horizontal Garden (2018), suspended midair on the basement level, exemplifies KIM’s ability to merge form and space. Supported by thin wires, the sculpture casts intricate shadows on the floor, extending its physical presence into the surrounding environment. On the ground floor, Two Collisions (2024), a mechanical sculpture with rotating mirrored and graphite-like surfaces, captivates viewers with its dynamic interplay of movement and reflection. In contrast, 57 Vertical Gardens (2024) features densely clustered ellipsoids perched on linear structures, described by the artist as "civilization’s excrescences," embodying both beauty and critique.

On the third floor, KIM shifts his focus to planar and linear elements with works such as A Section of the Garden (2024), 9 Observations (2024), and 323 Thorns (2024). These pieces reveal the artist’s ability to balance abstraction and precision, creating an immersive spatial experience that challenges traditional perceptions of sculpture.

KIM’s journey as an artist is marked by a relentless pursuit of innovation. Since his debut in 2000, he has exhibited extensively globally, including solo shows at the Cheongnamdae Hosuyeong Art Museum (2024) and K11 Art Centers in China. His participation in major group exhibitions, such as the Jinan International Biennale (2024) and the Jing’an International Sculpture Project (2012), underscores his international acclaim. His works are part of prestigious collections, including the National Museum of Modern and Contemporary Art (Korea), the Saatchi Gallery (UK), and the Amorepacific Museum of Art (Korea).

Lost in Garden is a showcase of artistic mastery and an intellectual dialogue between the artist and his audience. The exhibition explores the interplay of mechanical precision, abstract beauty, and philosophical depth, pushing the boundaries of sculpture as a medium. KIM’s use of modular forms and diverse textures reflects the complexity of human systems, urging viewers to reconsider their relationship with the constructed environments around them.

The artist’s exploration of "gardens" extends beyond physical spaces to address existence's psychological and emotional dimensions. His works challenge the audience to navigate the tensions between natural chaos and human-imposed order, offering a meditative yet critical perspective on the state of contemporary civilization.

For visitors to Arario Gallery Seoul, Lost in Garden represents a rare opportunity to engage with the mind of an artist who deftly combines technical rigor and conceptual depth. This exhibition is a testament to KIM Byoungho’s enduring influence in the global art scene and his commitment to redefining the possibilities of sculpture in the 21st century.

Sayart / Maria Kim, sayart2022@gmail.com