Ken Gun Min, Samuel Ross, and More at SCAD Museum of Art

The SCAD Museum of Art‘s 2025 programming has been unveiled, presenting a compelling roster of artists who challenge conventional boundaries through innovative materials, forms, and narratives. From textile-based works that engage with historical memory to immersive installations that redefine spatial experience, the exhibitions showcase a diverse range of artistic practices, each exploring profound themes. Raul De Lara reflects on migration and identity through intricate wooden sculptures in “Raíces/Roots,” while Sarah Crowner reimagines architectural space with her immersive installation Platform as Platform. Diedrick Brackens‘ “The Shape of Survival” brings resilience to life through allegorical tapestries, and Christina Quarles‘ “Far from Near” examines fragmented identity in works on paper. Zanele Muholi amplifies Black queer voices in “Somnyama Ngonyama,” and Jónsi blends sound, light, and scent to create a sensory experience in “Vox.” 

Whitewall had the privilege of sitting down on opening night in Savannah with the artists Ken Gun Min and Samuel Ross to dive deep into their exhibitions, practice, and ethos. 

Ken Gun Min Grapples with Questions of Identity and Belonging

In “The Vastness Is Bearable Only Through Love,” Ken Gun Min‘s mixed-media paintings create liminal spaces where cultural identities and queer experiences intersect. The artist combines Western oil techniques with Asian pigments and embroidery to construct vibrant scenes populated by symbolic figures and animals. 

Ken Gun Min’s newest exhibition is an intricate exploration of the cultural and personal dualities that define his work. Drawing on his experiences as a Korean artist who has lived extensively in the West, Min uses art to grapple with questions of identity, belonging, and the stories that shape us.

“Sometimes I’m denying, sometimes I’m going back, sometimes I’m feeling full of Korean power because I can’t deny it,” Min says. “It is my center but also, it’s still my homework. I don’t know how to deal with two different values in my work and in my life.” Min’s process is built on stories. He explains that much of his creative inspiration comes from listening to the lives of others and drawing connections. “All I do is listen, research, and collect other people’s stories. That’s probably me coping with my own story, which turns out to be art.”

“That’s probably me coping with my own story, which turns out to be art,”

Ken Gun Min

Growing up as a gay Korean in the 1980s presented him with challenges that left an indelible mark on his identity, which he now incorporates into his work. After moving to the United States, those challenges evolved in new ways. “Korea is fierce, busy, superficial, judgmental, nosy—but also so beautiful, loving, and passionate,” he remarks with a mix of critique and appreciation.

Unexpected Moments of Inspiration for Ken Gun Min

A significant part of Min’s work emerges from unexpected moments of inspiration. During the pandemic, he encountered what he thought was a severed ear in MacArthur Park in Los Angeles, an event that prompted deeper research into the site’s history. Urban legends about missing persons and remains hidden beneath its lake fueled his imagination, leading to a piece that combined found materials with new meanings. “I gathered a dress I found in a thrift store, maybe belonging to a missing lady, and deconstructed it. I made small mushrooms as a reincarnation of one of the dead bodies, turning tragedy into art and a connection between the stories I’ve collected,” he recalls.

From 2015 to 2021, Min paused his art practice while caring for his partner’s mother during her illness. Though difficult, this time became a turning point in his creative life. Volunteering within immigrant and homeless communities, Min collected narratives and experiences that later transformed into his artwork. “It was a very depressive time, but during that period, I volunteered at a senior center, engaged with the homeless community, and listened to their stories. That eventually became my art,” he explained.

Cultural history also plays a visible role in Min’s practice. He reflects on the symbolism of a black baroque pearl he collected during a short stay in Okinawa. For him, the pearl mirrors the island’s layered history as an independent kingdom before becoming part of Japan and later the United States’ military sphere. “The black pearl reflects their history. It’s imperfect yet iridescent, much like my experience balancing cultures and identities,” said Min.

At its core, his work carries a straightforward and heartfelt message. “I want people to take away one simple message from my work. It might sound cringey, but it’s important. Be kind. If you listen to others, your world will expand in ways you never imagined,” Min states. Kindness and a willingness to listen are threads that run through his art and his life, forming a foundation for the stories he tells.

“Be kind. If you listen to others, your world will expand in ways you never imagined,”

Ken Gun Min

Ken Gun Min’s art offers a glimpse into his personal and cultural intersections while echoing the complexities of broader human experiences. Through his process, he uncovers layers of meaning in both the tangible and the intangible, shaping a legacy grounded in connection and understanding.

Samuel Ross Brings his Distinctive Approach to Materiality and Form

British designer and artist Samuel Ross brings his distinctive approach to materiality and form in his exhibition, HEAVE. The exhibition showcases his sculptural furniture pieces that merge Brutalist aesthetics with West African design principles. Ross, founder of the fashion label A-COLD-WALL*, extends his design philosophy into the gallery context. Known for his multidisciplinary approach, Ross bridges the realms of art, design, and fashion, creating pieces that reflect his personal experiences and social commentary. This marks the first time his creations, often seen fragmented across platforms like Instagram or in siloed appearances at institutions, have been gathered under one roof.

“This is the first piece of showing I’ve ever had,” Ross reveals. “Typically, my work is scattered across the world, maybe in a runway show on one side of the Earth or a piece in the V&A or The Met, but they’re never together. It’s great to finally bring a comprehensive and total experience of my world and where my mind has been over the past decade.” Ross’s work reflects a collision of disciplines, blending commercial and institutional art alongside functional designs. Explaining his intent, Ross shares, “I wanted to ground the output in a single space so people can see there is cohesion between the works. There’s a maturity in some of the themes being spoken about. Just because it’s a different discipline doesn’t mean the context or the conversation changes.” He views moving between these mediums as an act of control and precision. “You need to be better, more discerning of each discipline, showing restraint in how to thread things together.”

“It’s great to finally bring a comprehensive and total experience of my world,”

Samuel Ross

One of the hallmarks of Ross’s practice is his use of raw, industrial materials that echo his heritage and environments. “I’ve always been drawn to materials that feel like reflections of the places I’ve been exposed to,” Ross says. “I think about my time in the Caribbean on volcanic islands and using volcanic ash, granite, saltstone, and limestone, which tie deeply to my sense of identity. Then I think about my time in the UK, the areas I grew up in, council estates, and industrialized spaces, which give comfort around materials like concrete and steel.” For Ross, these varied influences merge to create a singular language.

“I’ve always been drawn to materials that feel like reflections of the places I’ve been exposed to,”

Samuel Ross

His interest in public and shared spaces has played a significant role in shaping his functional sculptures, a term he coined to describe pieces that balance utility and artistic expression. Inspired by the public art of luminaries such as Henry Moore, Ross recalls his first encounter with Moore’s work. “I was walking through Kensington Gardens with my father and saw one of his sculptures. It brought all these existential questions about the power of art. That moment stuck with me, and so much of my work since has been about trying to tell stories that reflect experiences in society.” Ross’s functional sculptures are intentionally placed in that ambiguous space between furniture and art. He explains, “This space is interesting because people still feel they have the right to touch the materials and inquire about them. That connection creates a dialogue, and that’s where I like to operate.”

British Designer and Artist Samuel Ross Reflects on His Roots

Ross is also reflective on how his foundations as a designer and artist began with craftsmanship. “All of my training goes back to art school and design school. Whether it’s the outline of a sculpture or charcoal sketches, everything begins from hand,” he recalls. This foundation informs his work’s functionality and enduring quality, with themes of utility and protection acting as consistent threads throughout his career. 

“Whether it’s the outline of a sculpture or charcoal sketches, everything begins from hand,”

Samuel Ross

Fashion remains central to Ross’s creative identity, not only as self-expression but as a way to connect with community. “I’ve designed clothing for the many characters I’ve crossed paths with in life. It tends to focus on protection, cocooning, and amplifying the body,” says Ross. He links his designs to a sense of belonging. “It was less about fashion and more about utility and uniform, about being part of a particular tribe or place.” Over the years, these ideas have evolved, with Ross pointing out, “Perhaps my contribution has been reshaping ideas of modern masculinity through clothing, focusing on functionality, tactility, and strength.”

“Perhaps my contribution has been reshaping ideas of modern masculinity,”

Samuel Ross

The exhibition stands as a reflection of a decade of growth, experimentation, and clear vision. With his roots firmly planted in storytelling and materials, Ross continues to carve out pathways between disciplines, using his art to communicate universal truths and the textures of lived experience. For Ross, creating is not just an act of making but an act of revealing. “The artist’s role is to express truth, to express pain, and to do that fearlessly, ” he concludes.