Artist Sang Eun

Sang Eun is a Korean artist based in New York whose practice spans photography, installation, and printmaking. Rather than using photography solely as a tool for image-making, he treats it as a material through which to create sculptural and architectural forms. His work investigates the fl uid nature of photography itself, exploring the medium as both subject and process. Eun’s approach is not defi ned by a single technology, method, or process, but by an ongoing inquiry into photography’s core elements—light and time—while also emphasizing the viewer’s shifting perception as a crucial aspect of the experience.

In his recent work Window, Eun presents a series of photographs unifi ed by their disruption of the viewer’s perception of time, space, scale, and place. Blurred, distorted, or obscured imagery plays a key aesthetic and conceptual role, becoming a tool for reimagining how we see through the lens—both physically and psychologically. By incorporating transparent and refl ective materials, his works embody spatial conditions and material processes that blur the line between photography and architecture, creating surfaces that change with the viewer's movement.

The works exhibited in the gallery extend these ideas into physical space. Eun prints photographs on strips of transparency fi lm and layers them with colored and opaque acrylic panels, installed along the full length of the gallery wall. This arrangement activates a physiological response in the viewer, engaging spatial and temporal dimensions of perception. Additional elements, such as aluminum, acrylic sheets combined with transparency fi lm, are positioned throughout the space to further explore how photographs function as part of the built environment.

Eun's installations invite a rethinking of perception and spatial awareness, offering multiple points of view within the exhibition space. By suspending photographic panels, he challenges conventional ways of seeing and representation. For Eun, photography becomes a lens—a fi lter—through which we view the periphery from varied perspectives, whether from inside looking out or outside looking in. He draws attention to the edges of vision and the inherent limitations of human sight. His practice is rooted in observing the fl uid shifts within environments—structures, movements, and interactions—and in developing a conscious relationship to these perceptual shifts.