‘Relief’ is traditionally a form positioned between painting and sculpture. By projecting forms from a flat surface, it suggests space, yet it does not become an entirely independent three-dimensional object. This form has long functioned as a sculptural device that demonstrates how sculpture can exist between surface and space. Gwon Osang takes this point precisely as his starting position.
 
In this series, the artist photographs objects and then reorganizes these images onto flat structures to produce relief forms. However, the depth that emerges here is not created by the actual volume of material but is constructed through layers of images and visual illusion. In other words, while traditional relief forms space through the physical protrusion of material, Gwon Osang’s ‘Relief’ generates spatial perception through the overlapping and editing of photographic images.
 
This method preserves the physical conditions of sculpture while simultaneously transforming them into a question of images. The photographs placed on the surface construct the sculptural form while at the same time revealing themselves as flat images, and the viewer encounters a situation in which a single object exists simultaneously as sculpture and image.
 
Ultimately, the ‘Relief’ series does not simply expand the traditional category of sculpture but raises again the question of what sculpture is composed of. Crossing the boundaries between material and image, surface and volume, Gwon Osang’s work reveals a contemporary condition in which sculpture no longer remains within a single material form.