The pioneer of sculpting space with light. Born in 1946 in the UK and based in New York, Anthony McCall has spent over five decades radically reshaping the cinematic medium, deconstructing its conventions to forge a new visual language.

His defining Solid Light series uses projected light not to screen an image, but to carve three-dimensional volumes into darkened space—forms the viewer can literally walk through. These are not films to watch, but experiences to physically inhabit. The screen is gone; the audience is inside the artwork.

McCall is less interested in spectacle or technology than in perception and presence. By weaving together light, time, space, and the viewer’s body, Solid Light became a landmark in what came to be known as “Expanded Cinema”—a genre-defying movement that reimagined what moving image art could be.

Decades later, Breath III refines this sculptural vocabulary. Here, beams of light pulse rhythmically—expanding and contracting like lungs—enveloping the viewer in a breathing, organic geometry. It is less an image than a living space for renewed perception.

In Between You and I, McCall explores the concept of relationship through light. Two beams are projected in parallel, slowly intersecting, folding into one another. As viewers move between them, they become part of the interplay, embodying both observer and participant in a visual metaphor for human connection.

Finally, Skylight marks the culmination of McCall’s sculptural lexicon. Over a 16-minute loop, projected light and a thunderous soundscape composed by David Grubbs flood the room with atmospheric tension. Lightning-like flickers, immersive audio, and ambient haze merge to create a visceral environment. Here, light no longer simply carves space—it becomes memory, embodiment, and suspended time.

A dedicated archive room accompanies the exhibition, offering a glimpse into the inner workings of McCall’s studio: over 180 notebooks, diagrams, time-coded storyboards, performance scores, and past exhibition documents.

For McCall, drawing is not preparation—it’s composition. Each sketch functions like a musical score, organizing movement and time into form. His installations are not spontaneous gestures but meticulous structures built upon duration, rhythm, and architectural precision.

True to its name, Futura Seoul bridges past, present, and future. Its architecture—flooded with natural light—allows McCall’s works to breathe, not as static objects, but as living fields of perception.

This exhibition isn’t something you simply view. You walk through it, wait inside it, let it shape your awareness. It invites you to move slowly, to feel fully, and to sense time in new ways.

For those seeking a pause from the algorithmic noise of daily life, Works 1972–2020 offers not an escape—but a recalibration.