The ideas of “painterly sculpture,” “drawing sculpture,” and “drawing space” may not seem particularly unusual at first. But when we apply these ideas to sculpture rather than painting, they take on a new meaning. While such expressions may seem self-evident in painting, they raise interesting questions when applied to sculpture: What does it mean to draw space through sculpture? How can sculpture be used to draw space? These questions may not be easy to understand at first, but they are exactly where Kim Byung-jin’s artistic practice begins.

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His work can be described as a form of “drawing sculpture.” It challenges the traditional boundaries of sculpture and expands our understanding of what sculpture can be. At the same time, it brings sculpture and painting closer together, blurring the distinction between the two. Unlike traditional sculpture, which often emphasizes volume, mass, and physical weight, Kim’s work deliberately reduces these elements. In this sense, his work can be seen as both painterly sculpture and an exploration of what lies beyond the traditional definition of sculpture.

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Of course, this approach is not entirely new. Many artists have explored the relationship between sculpture and painting, as well as between three-dimensional forms and flat surfaces, through techniques such as relief and linear carving. These experiments have shown that the boundaries between the two art forms can be explored in many different ways. What makes Kim Byung-jin’s work distinctive, however, is his conscious and persistent exploration of these possibilities. Although he continues to use traditional sculptural materials and techniques, he uses them to encourage us to rethink what sculpture itself can mean.

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His work exists somewhere between sculpture and painting. It can be understood as either, or perhaps as both at once. At the center of this in-between space is the idea of “drawing.”

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Drawing is one of the fundamental concepts of modern painting. Traditionally, it referred to preliminary sketches or studies made before creating a finished painting, usually expressed through simple lines. More broadly, drawing can be understood as a way of recording ideas, thoughts, and sensations through marks and gestures. In recent years, however, drawing has come to be recognized not merely as a preparatory step for painting, but also as an independent art form in its own right.

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In sculpture, drawing traditionally corresponds to an initial sketch or study, known as an esquisse. It is also a way for artists to express their thoughts and sensations directly and spontaneously.