Solo Exhibitions (Brief)

Goyoson’s solo exhibitions include 《Blue Ginkgo》 (Laheen Gallery, Seoul, 2024), 《Alongside》 (Kimsechoong Museum, Seoul, 2024), 《6 Ways to Delicately Stack and Sincerely Destroy》 (Six Dessert Stores (Wonhyeongdeul, Seomgwang Bar, Munumi, Tove, Simdelung, Sous le gui), Seoul, 2022), and 《Michel》 (AlterSide, Seoul, 2021).

Group Exhibitions (Brief)

Goyoson has also participated in numerous group exhibitions, such as 《Random Access Project 4.0》 (Nam June Paik Art Center, Yongin, 2025), 《DOOSAN Art Lab Exhibition 2025》 (DOOSAN Gallery, Seoul, 2025), 《MaTEriDeLIA》 (Mirae Building, Seoul, 2024), 《END vs AND》 (PS CENTER, Seoul, 2024), 《Three Yesterday Nights》 (Perigee Gallery, Seoul, 2023), 《Postmodern Children》 (Busan Museum of Contemporary Art, Busan, 2023), and 《Sculptural Impulse》 (Buk-Seoul Museum of Art, Seoul, 2022).

Awards (Selected)

In 2025, Goyoson’s solo exhibition 《Alongside》 was selected for the 3rd Seoul Art Awards’ ‘Porsche Frontier Award’ in the Visual Arts category, and he was named the Best Artist of the Platform-L Live Arts Program 2019.

Originality & Identity

Goyoson’s practice begins with a dismantling of traditional sculptural boundaries, attempting to reconfigure sculpture sensorially through relational interactions with others. In his debut solo exhibition 《Michel》 (AlterSide, 2021), sculpture is no longer an object for passive viewing but becomes a medium of sensation, where the audience is guided to engage as performers. This shift reveals Goyoson’s core perspective: sculpture as an ephemeral event formed in transient relationships rather than a fixed entity.

Over time, his conceptual focus has expanded toward more introspective and lyrical dimensions. In the solo exhibition 《Blue Ginkgo》 (Laheen Gallery, 2024), the artist unfolded a cherished memory from the past across the spatial and temporal present, exploring how the overlapping of emotion and recollection can manifest through sculpture. The installation staged nonlinear time spatially, reflecting the artist’s unique view of sculpture as a conduit for psychological and sensorial traces.

In 《Alongside》 (Kim Sechoong Museum, 2024), Goyoson deepens his exploration of sculpture’s role within a social network by collaborating with five individuals—his father, an independent curator, a musician, and two artists. This exhibition transforms sculpture into a “monument of relationship,” suggesting that sculpture can function as a narrative device encapsulating personal lives and memories. The works demonstrate a contemplative gaze toward contemporary existence and intimate intersubjectivity.

Style & Contents

Goyoson reconstructs the materiality and sensibility of sculpture through amorphous forms and variable formats. Utilizing materials far removed from classical sculpture—styrofoam, urethane, live snails, perishable food—as well as the human body via performance, he visualizes transformation, decay, and creation. In 《Michel》 (2021), sculptures interact with performers, existing not as static objects but as embodied sensorial events.

In 《Milky Way》 (Coreana Museum of Art, 2021), inspired by star-gazing devices, Goyoson directed viewers to lie down or enter into sculptures, developing a genre of tactile sculpture that invites bodily immersion. This expanded the experiential field of sculpture beyond the visual, emphasizing its capacity to trigger multi-sensory perception.

His exhibition 《6 Ways to Delicately Stack and Sincerely Destroy》 (2022), in collaboration with six dessert shops in Seoul, introduced the notion of “edible sculptures.” By enabling visitors to purchase, destroy, and consume the works, Goyoson radically redefined the mode of sculptural reception, transforming the viewer’s act into a critical engagement with the very ontology of sculpture.

Further, in works like Summer of Love (2022) from the group exhibition 《Sculptural Impulse》 at the Buk-Seoul Museum of Art, sculpture becomes a platform for performative enactment—where bodies and narratives intersect. In Lee Minhwi (2024), part of 《Alongside》, the audience lies on a chair, listens to a lullaby, and visually encounters a black sculpture that shifts meaning with each sensory input.

Across these works, Goyoson consistently expands sculpture into a relational, multisensory medium, deconstructing its conventional form and unlocking its narrative and affective potential in contemporary art.

Topography & Continuity

Since his debut, Goyoson has consistently explored the conditions and relationships surrounding sculpture. He challenges the premise that sculpture must be a fixed object, instead proposing it as a sensory conduit and event born within dynamic relations. This understanding has remained a coherent thread across his diverse body of work.

He notably introduces the notion of the “user” in sculpture, repositioning the viewer as an active participant and sensory co-agent. By collapsing the authoritative distance between object and audience, his practice undermines the completeness and sanctity of sculpture. This principle unfolds across exhibitions, performances, edible sculptures, and theatrical installations, collectively forming a new ecology of sculptural experience.

Looking ahead, Goyoson’s interdisciplinary, collaborative approach is well-positioned for broader resonance on international platforms. His practice—anchored in bodily perception, spatial choreography, and affective transmission—offers a crucial model for reimagining the future of sculpture. Through meticulous organization of the interplay between body, space, and sensation, he is likely to emerge as a pivotal voice in shaping sculpture’s next horizon.