Unspoken Volumes from August 29th to October 8th, 2022, at The Stamp Gallery | University of Maryland, College Park | Written by Oliver Foley

As we enter the final week of Unspoken Volumes, Hae Won Sohn’s show at the Stamp Gallery, I find myself considering the effects that this art has had on me through hours of sitting with it. Although the impressions of gallery visitors, curators, critics, and contemporaries often define the written legacy of a work, many fascinating perspectives are held by the humble docents and guards of the art. Sometimes spending longer hours with the art than the artists themselves, art attendants are seldom without a unique take on the works which they oversee. In my hours of sitting at the desk, walking through the gallery, and gazing at the beautiful forms of Sohn’s sculptures, one specific theme repeatedly came up: shadowplay. The shadows of Sohn’s artworks were as tangible and concrete as the three-dimensional works of plaster, clay, and paper.

In addition to simply providing an exhibit’s worth of art for the Gallery, Hae Won Sohn played a large role in the installation of the exhibit. As a result, every decision of the gallery’s flow contributes to her great design. The lighting design, in particular, captured my eyes through my days in the Gallery. The angling of the lights and placement of the pieces resulted in stunningly complex shadows, such as The Made Maker.

“Blurry objects,” a concept Sohn developed through this work, is exemplified in the play between the tangible and intangible objects of the show. Shadows take the form of transition, blurriness of the hard-edged spaces we inhabit; potential beyond what is defined by the physical and temporal world. Shadows define and defy our brain’s understanding of the world, of the three dimensional, and even of the passage of time. By constructing objects which exist simultaneously in two- and three- dimensional worlds, Hae Won Sohn communicates the incommunicable blur of space through the “gray areas” in between. Shadows depend on the three dimensional to exist, but objects in space depend on light and shadow to be observed. These were the recurring thoughts in my mind all throughout the time I shared with these pieces.

Sometimes, the ornaments and subtle architectures of the spaces we pass through go unnoticed. Perhaps this subconscious “smudging” of landscapes is the blur which Sohn pursues. Yet, even more than the architectural thresholds, edges, and accents, the most subconscious element of our day-to-day perceptions is the shadow. We train ourselves to ignore it, just like we ignore the trim of the rooftop, the rosettes and finials of our furnishings. By leaving nothing but the liminal form, the ornament and its ever-constant shadow, Hae Won Sohn gives the viewer the eyes to see what their brain blurs. One particularly beautiful example of this theme is the piece Growing Thin. My hours at the desk provoked thoughts of chicken-and-egg games between the illumination and the illuminated. Magic is alive within the plaster-cast object and its own light-cast into the two dimensional. I found myself profoundly affected by Sohn’s installation.

With only fours days left to see Unspoken Volumes, I encourage anyone to come give it one last look!