It appears that many Western viewers looked for and asked for the spiritual source of what they perceive in Kim’s recent works of abstraction as “the metaphysical inner light” that seems to emanate from deep inside the interior of his works. Notice that Kim Hyunsik begins with uniformly colored vertical lines parallel to one another, densely filling each epoxy-resin layers, creating a color field of this or that particular color tone and hue on the canvas. This or that particular color is a result of refraction of light particles by this or that particular material coating for that specific purpose. On this field of this particular materiality, enabling only a specified range of light spectrum to vibrate in continuous motion; but, these refracted lights enter into interaction of mutual vibration with those captured light particles inside the uncountable number of many fissures at all those hidden in-between the layers and the lines.
Since epoxy-resin is transparent, the light particles whose size is zero are capable of traveling through the same ‘near-zero-sized’ cubes, either simply passing through the empty cube or be reflected by the colored cube. However, the colored cubes of ‘near-zero-size’ are distributed in these 3-D epoxy-resin structures completely randomly. The zero-size light particles (which are also weightless but with a momentum and energy) in some cases trapped in some cubes or keep traveling towards the nothing, going through obstacle courses, in reflected back and forth because colored cubes will continuously reflecting the photons backward and also forward directions. In such ways, in this model of [lim dx/dy/dz/dt -> 0], photons, the light particles are permanently trapped or in the traveling mode, constantly moving nearer and nearer towards the zero point, the nothingness, if you will. Hence, voilà, there is a heuristic model of universe and also of nothingness; it is also a model of eternal return, by having light particles in the steady-state mode of eternal return.
Excerpt from “Light Reverberates Trapped Inbetween Spaces” l Kai Hong, Ph.D. (Philosophy of art and science)