Kim In Kyum (b. 1945) received his bachelor’s degree from the Department of Sculpture and master’s degree in education at Hongik University. He was selected as a representative of the Korean Pavilion at the 46th Biennale di Venezia in 1995. He was invited by Centre Pompidou for a period of 1996 to 1997, and stayed in France until 2004. He was the recipient of Gana Art Award in 1997, and Kim Se-choong Sculptor Award in 2004. He has held numerous solo exhibitions including “Revelation Space” at Gana Gallery in 1988; “Project-Wall of Thought” at Korea Culture and Arts Council Art Center in 1992; “Revelation Space？Existence” at Pyo Gallery in 1996; “Emptiness” at Cite Odeon 5, Paris in 2001; and “Space？Less” at Gana Art Center in 2011. He also participated in group exhibitions including “Korean Art 95-Quality, Quantity, Sense” at National Museum of Contemporary Art, Korea, currently MMCA, in 1995; “New Prospect on Drawing” at National Museum of Contemporary Art, Korea, currently MMCA, in 2003; and “Spectrum-Rhythm, Shape, Communion” at Sejong Museum of Art in 2009. Kim In Kyum’s oeuvre are divided into six periods: “Creation” in the 1970s; “Evoke” from 1980 to 1986; “Revelation Space” from 1987 to 1996; “Project” from 1992 to 1995; “Emptiness” from 1999 to 2006; and “Space-Less” from 2007 and beyond. The “Revelation Space” series actively reflects Kim’s keen interest in traditional formative beauty, taking on stone pagodas or traditional Korean house doors and windows made of Korean traditional paper, Hanji as motif. The work was mainly produced by drilling a hole into a square and filling it again, assembling each part and connecting one another; thus, his work creates structural form. Contrary to his previous series “Evoke,” characterized by mechanical and cold geometric shapes, the volume that communicates a flexible yet rough matiere “makes viewers contemplate and feel a subtle state of calmness and dynamics (Jang Seokwon, art critic),” as the title suggests. Large projects such as “Project-Wall of Thought” in 1992, and “Project 21-Nature net” presented at the 1995 Biennale di Venezia show Kim’s unique architectural sensibility. They emphasized “place-specificity” and “the physical presence of the viewer for the work’s completion,” and continued interest in meditational space, which was pursued in the series “Revelational Space”. The series “Emptiness” and “Space-Less” entirely get away from traditional sculptural volume and mass. Through a creating “plane” made of stainless steel, Kim seeks emptiness, not occupation of space. In particular, the series “Space-Less,” as creating a sort of optical illusion going back and forth between plane and threedimensional objects, draws attention to the physical existence of a work and the place on which it lies, “implying crack, infinite space, that is absolute space, and opens a gate to space of thought beyond physically existing space (Choi Taeman, art critic).”