Baik Art is pleased to host J Sculpture Show, marking the inaugural solo exhibition in South Korea (19 March – 2 May 2026 | B. Koh , 74-13, Yulgok-ro 3 Gil, Jongno-gu, Seoul ) for Los Angeles-based artist B. Koh.
As a conceptual sculptor and installation artist, Koh specializes in gentle interventions that act upon mundane objects and everyday occurrences, subtly recalibrating our understanding of the world around us.
This presentation represents his most significant appearance in Korea since his contribution to the 4th Gwangju Biennale, offering a comprehensive look at his career by juxtaposing formative works from the 1990s and 2000s with his most recent artistic output.
Koh’s creative practice is rooted in the overlooked details of the everyday, focusing on objects and moments that typically escape notice, such as clocks, hair, water, and faint traces of presence.
By removing non-essential elements and meticulously adjusting factors like scale, gravity, and time, he introduces quiet disruptions into the established order of things.
This method has been characterized by critic David Pagel as “gentle trickery,” a term that reflects both Koh's profound material sensitivity and his understated humor.
This shift, where the familiar becomes slightly alien, is described as a state of “graceful ephemerality,” a concept that views transience not as a source of melancholy, but as a site of delicate beauty found in fleeting perceptual changes.
The exhibition traces this enduring sensibility across several decades of work, making abstract concepts tangible through physical installations.
Upon entering, visitors encounter Thread Clock, a timepiece stripped of its primary hands, leaving only a second hand burdened by a hanging thread that creates a rhythmic tension against gravity.
In the upstairs gallery, Wet Chair utilizes light, water, and electricity to create a living situation where the slow evaporation of a pool of water on a plastic chair causes continuous, minute changes.
This exploration of precariousness is echoed in Water Wood, which maintains a quiet suspension shaped by the gradual disappearance of liquid.
The showcase also features new works created during Koh’s recent residency in Seoul, inspired by objects from his immediate environment.
For instance, Drip utilizes a punctured plastic bottle to release single droplets that momentarily mirror the form of a suspended diver.
Ultimately, Koh’s work operates in the space that exists before logic and articulation take hold, favoring raw intuition and sensation.
His installations do not seek to glamorize the ordinary, but rather to return the viewer to what they have already seen with a renewed sense of notice.
Through these nearly imperceptible movements and differences, he reveals latent sensations that linger and quietly reorient the viewer's perception long after they leave the gallery.
