Space in Time, Time in Space
Picture yourself floating in a vast white void where nothing else exists. In such a space, what would you see, feel, or think? Without engaging with our surroundings, can we truly know ourselves? Our understanding of the world relies on sensory interactions—seeing through our eyes, feeling with our hands, walking on solid ground—and without these spatial relationships, we cannot define our existence. Artist Guiyoung Lee’s ‘Exit-Infinite-Space’ series explores this interdependent relationship between space and time, reinterpreting it through historical context and humanity’s return to nature.
Space in Time
The spaces we live in are like canvases recording the passage of time. Artist Guiyoung Lee sees space as not merely a static backdrop but something dynamic—continually deconstructed, reconstructed, and transformed through time and memory. Historic buildings may stand for centuries, preserving the memories of their era, yet their forms change, their purposes evolve, and new meanings are layered upon them. In a same location, different historical layers accumulate, turning physical space into a silent witness to time’s passage.
‘Exit-Infinite-Space-Tear-Down’ captures the dismantling of the former National Museum of Korea that once stood where Heungnyemun Gate is now located. This building was originally built during Japanese colonial rule as the Governor-General’s Office, deliberately placed directly in front of Gyeongbokgung Palace’s main gate—a calculated blow to Korean cultural identity that left lasting historical wounds. After Korea’s liberation, it served as the National Museum until 1995, when it was demolished as part of the Korean government’s efforts to reclaim its cultural heritage.
The artist incorporates this historical context while depicting modern architectural elements—expansive, open spaces and transparent glass surfaces—layered with the silhouette of Heungnyemun Gate. What also demands attention is a TV monitor physically embedded in the center of the canvas that displays footage of people casually walking through present-day Gyeongbokgung Palace. Through this technique, Artist Guiyoung Lee creates a space for contemplation where different temporal dimensions intersect, visually manifesting the complex layers of meaning that accumulate in a same location over time.
Time in Space
Space continuously evolves and gains new meanings as time flows forward. While we carry the past within our memories, those memories become remained in the places we once occupied. As we live with finite lifespans, humans ultimately return to nature, and similarly, the structures we build—repositories of our memories and experiences—eventually reflect this cycle of return.
‘Exit-Infinite-Space-Nature’ harmoniously blends architectural and natural elements within a single frame. The flowing waterfall in the video represents the spirit that has coursed through Korean history for millennia, embodying what the artist conceptualizes as an ‘Exit.’ By superimposing natural landscapes (waterfalls, rivers, sky, and earth) over architectural forms, Artist Lee creates a visual dialogue between pre-urban nature and human constructions. This composition bridges past, present, and future, portraying time within space and space within time as organically interconnected and vibrantly alive.
The combination of a physically transformed canvas with video media transcends the limitations of static painting, bringing temporal flow directly into the artwork. The perpetually moving waterfall creates a striking contrast with the seemingly motionless architecture, staging a visual encounter between nature’s eternal rhythms and the temporary nature of human civilization.
Reinterpreting Spacetime
The ‘Exit-Infinite-Space’ series transcends its surface value as an artwork, embodying a profound philosophical exploration of the time and space humans inhabit. The artist captures specific historical contexts and their corresponding spaces on canvas, challenging our taken-for-granted concepts of time and space. Guiyoung Lee’s art presents a fresh perspective by visualizing historical wounds and their healing processes, suggesting that art can serve as a crucial medium for forming collective memory and identity.