In 'The Flat', Gwon Osang cuts out advertisement images of watches, cosmetics, jewelry, and other consumer goods from magazines, attaches wires to their reverse sides, and installs them upright on the floor. Though made of paper and light enough to be blown away by a gust of air, these elements unmistakably occupy space as three-dimensional structures, yet the artist does not present them as independent sculptures, instead arranging multiple pieces in space and re-photographing the installation to produce a final printed image.
 
Through this process, the work undergoes successive reversals of medium: three-dimensional object (commodity) → two-dimensional surface (magazine image) → three-dimensional structure (sculpture) → two-dimensional surface (photograph), repeatedly oscillating between volume and flatness while destabilizing the boundary between object and image. A tangible commodity becomes a flat image, regains provisional volume as sculpture, and is ultimately returned to the photographic plane, thereby destabilizing the hierarchy between image and object and establishing a clear conceptual resonance with 'Deodorant Type', where photography and sculpture similarly intersect and unsettle one another.
 
At first glance, the paper cut-outs appear deceptively simple, yet upon closer inspection the subtly exposed wires reveal that each element firmly stands on the floor as a sculptural structure. Although these supports could easily be concealed, their deliberate visibility emphasizes that the work is not merely an illusionistic image but a physical entity situated in real space, and in 'The Flat', flatness and volume, representation and structure, continuously overlap and invert, prompting viewers to reconsider the presumed boundaries between image and sculpture.