“Among living Korean artists, who else has introduced a sculptural method like inverted sculpture that resonates so powerfully in global art history?”

Seoul] Renowned Korean sculptor Lee YongDeok, celebrated for pioneering a groundbreaking technique known as "Inverted Sculpture"—a concept unprecedented in global art history—has opened his second solo exhibition, titled Portrait of Seeing, at ACS (Art Chosun Space) in Jung-gu, Seoul. The exhibition, which opened on May 7, showcases over 20 new works.

Lee's "inverted sculptures" create the illusion of raised relief through intricately carved recesses, defying conventional perspectives and making the works nearly impossible to capture accurately in photographs. His exhibitions, consequently, are often filled with viewers eager to experience the works in person.

Having retired from Seoul National University last year, Lee expressed a desire to return to the anxious energy of his forties—a time of intense artistic focus. This latest exhibition embodies that renewed creative drive, exploring the ephemeral nature of perception and form.

The sculptures reveal shifting images depending on the viewer’s position, light, and angle—disrupting the fixed perspective of traditional sculpture. His art engages with deep philosophical questions around “existence,” a theme central to contemporary art. Drawing on Eastern philosophy and quantum theory alike, Lee invites viewers into a multilayered interpretation of reality.

In this exhibition, Lee incises fleeting moments of human presence—such as a man playing guitar, a girl folding her arms, a child walking, or a woman writing while lying down—onto elemental spaces symbolized by earth, water, and sky. Though these human figures may appear to be the main subjects, Lee stresses that they are merely transient phenomena. “After years of observing form, what remains are the horizontals, verticals, and diagonals,” he notes. “Everything happening upon essence is but a temporary shift—a fleeting event.”

This perspective underpins his recent focus on what he calls "convergence toward essence.” Rather than emphasizing extremes or differences, he seeks a balanced middle—what he refers to as “average.” He encourages audiences not to be distracted by superficial phenomena, but to reflect on the fundamental truths beneath them.

A noticeable evolution in this series is his use of color. While his previous works often showcased clear chromatic tones, these new pieces appear in subdued grays. Yet, according to the artist, multiple layers of primary colors—yellow, red, and blue—were meticulously applied to achieve this outcome. “This subdued palette reflects a new way of seeing, shaped by a quiet understanding that everything, including color, ultimately converges toward the essence,” he explains.

This tonal restraint is reminiscent of how seasoned figurative painters often transition to abstraction, whether consciously or not, later in their careers. Lee’s shift suggests a similar philosophical maturation. As he puts it, “Too much is less than enough”—a sentiment that aligns with his pursuit of simplicity and substance over excess.

Critics see Lee’s work as a milestone in Korean contemporary art. As one art critic remarked, “Among living Korean artists, who else has introduced a sculptural method like inverted sculpture that resonates so powerfully in global art history?”

Today, over 200 of Lee’s works are housed in institutions worldwide, contributing to the international prestige of Korean art. Notable pieces include the statues of brothers Jung Joo-young and Jung Shin-young at the Kwanhoon Club in Seoul and the inverted sculpture of Chairman Park Tae-joon at the POSCO building.

Portrait of Seeing runs through June 7.

Sayart / Jason Yim yimjongho1969@gmail.com