For the late Korean artist Suki Seokyeong Kang (1977–2025), art was a method of measuring how the individual inhabits the world. Spanning painting, sculpture, installation, video, and choreography, Kang's research-driven practice drew on a distinctly Korean artistic genealogy — from the Jeongganbo, a fifteenth-century grid-system of musical notation; to the hwamunseok, a reed mat used in Chunaengmu, a traditional one-person court dance; to jinkyeong sansuhwa, or "True-View" landscape painting. Across these references, Kang returned again and again to the Korean concept of jari — denoting "place," "seat," or "territory" — to explore the space afforded to the individual within society.

This exploration was inseparable from the individual’s physical body. Kang's works were produced at a weight and scale she could manage with her own strength. She created objects meant to be lifted, carried, and embraced. The Warm Round series distills this intimacy into its most essential form: small, rounded sculptures of perforated metal woven through and covered in colorful yarn, each small enough to be held in one’s arms. The gesture of adding thread connects to an innate human desire to cover over imperfection, while the union of industrial surface and handwrought warmth embodies what Kang described as working "toward an unstable but beautiful state." Warm Round works can be exhibited as standalone pieces, or can be integrated and combined with other works. In this way, they enact in miniature the logic of Kang's broader practice: disparate elements leaning on one another, building layers of emotion, and arriving at an unexpected harmony.