sangheeut is pleased to participate in “Second Nature,” on view from October 19–24 as part of Paris Internationale 2026. Alongside other emerging galleries from Korea, sangheeut will present new works by BBK (Jongwan Jang × Junho Jang; formed in 2019) and Jisoo Lee (b. 2000).

BBK (Jongwan Jang × Junho Jang) explores collective beliefs through utopian imagination, “invented traditions,” and the projection of human desire onto nature. Working collaboratively since 2019, the duo has developed a reciprocal process in which Junho Jang’s sculptures inspire Jongwan Jang’s paintings, which in turn inform new sculptural forms.

Their new works extend this dialogue between painting and sculpture, bringing together familiar symbols and surreal imagery. “Ergosphere” takes its title from a region surrounding a rotating black hole, where matter and spacetime interact dynamically. The face of a Pensive Bodhisattva is transformed through a funnel-shaped opening that curves inward toward the ear, connecting the sculpture’s interior and exterior while merging its sacred form with dreamlike painted imagery. In “The Growth of Rules”, Jongwan Jang responds to Junho Jang’s carved wooden sculpture, whose imposing form reminded him of a judge. Inspired by the extreme summer heat of 2026, he paints a seemingly burning forest across its surface, bringing together the solidity of wood and an imagined landscape. “A Ghost of Spring” features a suspended sculptural hand recalling the Buddhist image of a hand holding a lotus flower, a symbol of purity and enlightenment. In place of the lotus, the artists introduce a lingzhi mushroom painted with butterfly-wing patterns, evoking the passing of spring and its lingering presence as a distant memory. Through these encounters, BBK transforms familiar symbols into unexpected narratives.

Installation view, Fool’s Spring, sangheeut, Seoul, 2026

Installation view, No man’s land, ARTSPACE BOAN, Seoul, 2019

Jisoo Lee draws on personal experiences of anxiety and vulnerability in everyday life, translating the desire to conceal oneself or blend into one’s surroundings into painterly techniques and imagery of camouflage and mimicry. While her earlier works explored shifting appearances at the boundary between interior and exterior, her recent practice turns toward the materiality of images and the passage of time embedded within them.

In her new paintings presented at Paris Internationale, Lee builds up layers of resin and pigment to give the painted surface a physical body. Images captured at different moments, overlapping scenes, and fleeting visual traces are brought together on these layered surfaces. She then sands down parts of the surface, exposing the accumulated layers beneath and creating marks that resemble water droplets or splashes. Through this process of accumulation and erosion, Lee translates the passage of time into a tangible material presence, exploring images that resist fixed meanings and invite a slower way of looking.

Installation view, Jisoo Lee: “Doorstep,” sangheeut, Seoul, 2025