Meta Painting – The Grid (2025)
The gridded composition of the suspended works function both as a spatial framework and a contemplative drawn surface. Developed in collaboration with Jaeho Chong, these pieces built on Kimsooja's earlier object-based works, such as her textile-wrapped wooden window frames, or letterbox, where everyday forms are reimagined through acts of deduction and unfolding. Here, the grid becomes more than a visual structure: it serves as a meditative system of repetition and subtle variation of vertical and horizontal lines and surfaces. Extending Kimsooja’s longstanding exploration of verticality and horizontality as structuring axis between the grounded and the transcendent, this new series incorporates principles of seriality and modular construction. Suspended just off the wall, they occupy a liminal space between drawing and sculpture, inviting close attention to rhythm, form and intimacy through its quiet geometry.


Meta Painting – Glass Swatches (2025)
In Meta Painting – Glass Swatches (2025), Kimsooja presents a visual archive of handmade glass samples sourced for her permanent stained-glass installation, commissioned on the occasion of the 800th anniversary of the Cathédrale Saint-Étienne de Metz. The glass pieces—carefully selected for their light and textural qualities—reflect the artist’s interest in "non-doing" and “non-making,” where the absence of overt production gives way to the presence of its inherent qualities. The emphasis shifts from creation to observation, positioning the archive as a vessel of material reality and painterly practice.


Meta Painting – Seven Colors (2025)
In this work, Kimsooja suspends a sequence of vertically aligned glass panels, each rendered in a distinct color, which overlap to dissolve into a final black hue. The convergence of chromatic differences into black extends her inquiry into unity, void, and transcendence, recalling her earlier use of color as mediation between spectrum and convergence. Her sustained exploration of ‘non-doing’ and ‘non-making’—as the glass panels remain unaltered two-dimensional planes—opens onto a spatial expansion into a three-dimensional vacuum, where minimal intervention transforms into a contemplative field that enfolds light, color, and perception. In doing so, Kimsooja expands the traditional notion of painting, reconfiguring the surface into an ever-changing chromatic field.


A Needle Woman: galaxy was a memory, earth is a souvenir – The Grid (2025)
Developed by architect Jaeho Chong, collaborator on Kimsooja’s site-specific conical sculpture A Needle Woman: Galaxy was a Memory, Earth is a Souvenir (2014), this work unfolds as a dialogue between their distinct yet converging vocabularies. Rooted in painting for Kimsooja and in architecture for Chong, their practices meet in a shared meditation on spatiality, surface and the formal logic of the grid. The tower’s proportions unfold from its needle point downward, each segment halving the last in an infinite progression. This recursive structure mirrors the relationship between canvas and frame, balancing surface and support. At once an object and monument, the sculpture engages the viewer at a human scale while evoking the abstract precision of architectural thought.

Meta-Painting (2024)
Kimsooja’s black Meta-Painting (2024) series conceptualizes and brings to reality the absence of light and surface. While the depth of black color absorbs nearly all light and shadow, its surface resists our discernment.


Deductive Object – Black Garden (2024)
The work comprises five geometric forms painted in a deep black hue. The surface of these forms absorbs enough light to make them appear bi-dimensional, opening a space of uncertainty. Though it is black, there is an absence of shadow, and thus an absence of light; it embraces all colors, but resists our discernment. This investigation into color, light, and primitive symbols resonates with the notion of duality, which has been a recurring motif in Kimsooja’s body of work. The geometric structures present in Kimsooja’s art often disclose contrasting forces inherent in art and life—light and shadow, interiority and exteriority, and life and death.


Deductive Object (2025)
This scaled version of Deductive Object maintains the conceptual framework of Kimsooja’s original large-scale sculpture while rearticulating its formal presence. The work takes its form from the brahmanda stone of India, known as the “cosmic egg.” The cosmic egg symbolizes totality, encompassing both birth and death. This work may be perceived as a bottari bundle or as the body itself. Often suspended above a mirror, the black stone absorbs surrounding light, and this installation may likewise be understood “painting” as an act of “wrapping” of this elliptical sculpture.


Deductive Language (2024-2025)
Kimsooja has long examined the psychological dimension of the hands, observing them and creating films and sculptures that treat the two hands as distinct entities. Each image captures a single gesture, performed in real time by the artist. The hands may rest apart, or move independently or together, sometimes touching one another. They are placed, intertwined, directed, or crossed; they may wrap around, support, or caress parts of the face or body, acting as creative extensions of thought. At times highly independent, the hands can also emerge as instruments of violence, difficult to control. Yet, inseparably connected to the brain’s neural system, they function as a corporeal organ of language, inscribing sensation and thought with immediacy.

“Located in Samcheong-dong, Seoul, Sunhyewon is a site steeped in the history and tradition of SK Group, recently reopening as the group’s new research institute. To introduce this special place to the public and expand its role as a cultural platform, PODO museum has launched a new cultural program, “Sunhyewon Art Project 1.0.” The inaugural project presents an exhibition by Kimsooja — a world-renowned artist representing Korea.


This exhibition marks a special moment where the historical depth of Sunhyewon meets Kimsooja’s artistic universe, offering visitors a contemplative experience that transcends time and space. The central work, To Breathe—Sunhyewon, 2025, is a site-specific installation that transforms Gyeongheunggak, a traditional Hanok building that retains the dignity of Korean architecture, into a whole piece of contemporary art. By covering the floor with mirrors, Kimsooja reflects the architecture, light, and viewers, dissolving boundaries between built structure and individual. This immersive space reinterprets the stillness of Hanok into a sensorial experience where the past and the present, the space and being intersect. Even the seemingly fixed architecture begins to shift and flow as it blends with ephemeral light and reflections.


Notably, this is the first time Kimsooja’s To Breathe series has been installed within a traditional Hanok structure, adding symbolic significance to the juxtaposition between the work and the historic context of Kyongheunggak. As suggested by the title, To Breathe, the piece captures the subtle movement of light and air within the tranquil beauty of the Hanok, drawing the viewer’s breath and footsteps into the artwork itself.”

24 May 2025 – 9 November 2025
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1 May 2025 – 3 May, 2026
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5 April – 7 June 2025
For more information, click HERE