Gwon Osang’s 'The Sculpture' series departs from his earlier works in which photographs were explicitly employed as sculptural materials, and instead turns toward a reconsideration of the representational logic of traditional sculpture. Rather than observing the object directly, the artist gathers visual information from various sources including the internet, books, magazines, and miniature models, and reconstructs the form of the sculpture by synthesizing these fragmented references. In this process, the sculpture does not function as a direct reproduction of a single reality, but emerges as a structure assembled from images and information accumulated across different media.
 
Within the series, Gwon Osang often chooses objects such as supercars and high-end superbikes—including models associated with brands such as Ducati—that function as contemporary symbols of desire within capitalist culture. Just as traditional sculpture historically attempted to materialize the ideals of its time in physical form, the artist reinterprets this ambition by translating the aspirational images of contemporary consumer culture into sculptural form.
 
Although the 'The Sculpture' series differs physically from his earlier photographic sculpture works, it remains closely connected in its reinterpretation of traditional sculpture within a contemporary visual context. By reconstructing objects that embody the ideals of contemporary society, Gwon Osang prompts viewers to reconsider how sculpture represents reality and how the notion of the ideal continues to be produced through images and objects in the present.