Yong-Sik Kim's painting in the exhibition are not simply hung but rather can be viewed as modified shapes of canvases "installed" on the walls which provide the exhibition with a unique artistic structure. This structure is made and designed by the artist himself and is arranged on the walls as a diptych and as a triptych.
In this exhibition, the artist's work create a spiritual mood and atmosphere almost transforming the gallery into a religious temple. Rather than merely displaying art, through Kim's work, we can see that space, picture frames, and the actual paintings are intimately interrelated and can be used together to create an impression of wholeness. The paintings in T-shaped, I-shaped frames are obliquely titled with a fixed angle. This kind of structure refracts the viewer's vision and results in different interpretation from each viewer.
The light is the most important factor in Kim's works. That is the reason why Kim's works appear to give an impression of stained glass. Kim's painting which have the characteristics of an altar piece or stained glass help to emphasize the spiritual aspects of his paintings. His art works seem to function more like expression of his thoughts about art and suggest an alternative for modern art and therefore have a strategic purpose against modern art.
In Kim's works, he keeps the flatness in his paintings and at the same time twists it from different angles by utilizing other elements for his art. This is the central axis that maintains Young-Sik Kim's art works. Kim's works are the product of very strategic, carefully calculated, and logically thought out plans. This can be detected in Kim's attitude and method used in his works.