The exhibition 〈Parallax of the Surface: Accumulation and Delamination〉 explores the opposing speeds at which time and relationships become materialized upon the same plane—the surface of the canvas.

In the wake of a universe that has passed through our lives, time never follows a single trajectory. Some moments lose their warmth and quietly settle within us like rust; others break violently through accumulated layers, erupting outward to be written anew. At the point where the sinking time of erosion intersects with the surging time of regeneration, two radically different trajectories begin.

The nature of memory and relationships formed through the passage of time lies in the way invisible afterimages come to rest upon the material surface of the canvas.

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Kim Jihoon unfolds a field in which the intimate traces left behind by a departed universe slowly sediment. Through the physical process of rusting, the artist captures as a plane the texture of time that settles like corrosion within the mind after the universe of another person has passed through it. The steep lines and dripping gestures that once traversed his canvases have receded, giving way to surfaces built up patiently and deliberately. These surfaces evoke both the fading of relationships as their warmth dissipates and a process of emotional shedding—a delamination through which only what is essential remains. Never entirely erased, the surfaces continue to oxidize into shades of red and darkness, becoming quiet yet melancholic records of Static Entropy: traces that endure the passage of time after warmth has departed.

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By contrast, Kim Hongbin constructs a generative field in which fragmented urban time and colliding emotions erupt with physical force. Like the surfaces of a city repeatedly painted over, erased, and rewritten, the artist builds successive layers of acrylic, creating a stratigraphy of memory—a palimpsest. He then tears, peels, and ruptures these accumulated skins in a radical act of delamination (Cocoon/Tear), dismantling established identities and allowing a new order to emerge through rupture. The rough fissures and organic forms breaking through the surface are not merely acts of destruction. From within the debris of what has been broken, they generate new life—a visualization of Dynamic Entropy, in which a new Singularity is conceived and bursts outward.

If Kim Jihoon’s surfaces embody a “sinking time,” quietly descending while holding the afterimage of a departed universe, Kim Hongbin’s surfaces embody a “rewritten time,” breaking through their own skins and violently renewing their identities.

Within this space—where oxidized planes sink inward and layers of acrylic erupt and peel away—the viewer encounters the traces of the many universes they themselves have passed through, along with the temporal disjunctions of memory still shifting beneath the surface.

The trajectories of accumulation and delamination inscribed upon the canvas ultimately invite us to reconsider the fundamental depth of human existence: a condition shaped by the ceaseless movement of life, in which things recede, disappear, accumulate, rupture, and are continually brought into being again.