At the center of Sight is a shape that suggests a hole. The intricate spread of colors surrounding and radiating from this shape originates from matrix values generated by the intersection of two thin black bands—one painted along the leftmost edge, the other along the top surface. While the origin of these colors and shapes remains unknown, a red surface, concave like a sinkhole, immediately catches the eye. Unlike the finely segmented sections around it, this hollow red area draws the viewer’s gaze inward—only to push it back out as the surface appears to protrude. What first seemed like an unfinished background or an omitted blank abruptly asserts itself, disorienting the eye. As the artist describes, the arrow of vision that once extended outward is reflected by the movement of color and redirected back to the viewer. Through this reversal of gaze, Rahm Parc evokes the infinite motion contained within painting.

Stopwatch is a work that clearly demonstrates the core operating principle of Rahm Parc’s practice: the matrix structure and its resulting movement. In this work, the artist conceptualizes the intersection points of the x- and y-axes—where result values are generated—as moments of transition, shifting to new positions. In contrast, the point in the upper-left, which is symmetrical to the result point across the diagonal, is designated as a fixed position—a site of stillness. In Stopwatch, this still point takes the form of flowing water, rendered in black and white, whose dramatic tonal variations—from light to dark—evoke a rippling sense of motion. Colors extracted from this water image are distributed across diagonal rows and columns, forming a black-and-white matrix that produces result values resembling the surfaces of stone. Interestingly, the stone is not painted in black and white, but in gray and white. This subtle disjunction introduces a perceptual gap between water and stone, prompting viewers to trace the whereabouts of gray—both the element and the origin of the stone. As the artist suggests, gray has not disappeared; it merely eludes the eye, waiting to be summoned through the mind.

AUTO Drive 5 is a reconfiguration of another painting by Rahm Parc titled Seeing Seeing, part of the ongoing AUTO series the artist has been developing since 2021. In Seeing Seeing, horizontal bands of color evoke the long-exposure image of headlights streaming across a nighttime street. While that work conveys a sense of motion through a horizontal composition, AUTO Drive 5 introduces a contrasting vertical dynamic. The gradient at the center of the canvas appears like a door leading somewhere, or as if a shaft of light were dividing the space between earth and sky. Though composed within a simple matrix structure, the unknowable relationships between the colors and the shifting gradients invite the viewer into a realm of imagined movement. Here, imagination races faster than light—gliding past our eyes before we can even register what has occurred.

Runway is a painting measuring approximately 7.9 meters in length, extending toward a blocked railing as if propelled by unseen force. Created through countless dots applied with a stencil brush, it evokes the turbulent airflow trailing a taxiing aircraft—or an uncompromising flame surging forward at full speed. The coordinates of color, undulating according to the matrix logic Rahm Parc devised, generate momentum and spatiotemporal dimensions when activated by the viewer’s visual imagination. The appearance of black, which overrides the expected results of a red matrix, points to the existence of unseen coordinates, stirring the mind’s eye. Although the canvas, as a physical support, stops at the railing, the work evokes propulsion beyond that boundary. With Runway, viewers are invited to expand their inner vision, freed from external constraints—not toward the wall across or the floor below, but into a movement that drifts and circulates through the exhibition space.