"There is a clear correspondence between Kang’s dome and Plato’s cave as illusionistic enclosed spaces. Kang’s dancers, for instance, immediately echo Plato’s dancing shadows. Yet Deep Surface also distinguishes itself from Plato’s allegory in an important way. Indeed, while Plato’s cave underscored people’s trust in their perceptions and unquestioning adherence to knowledge constructed on perception, Kang’s work has the opposite effect. Because Kang’s projections completely dissolve the solidity of the dome and disrupt our sense of space and order and, by extension, our cognitive centering, Deep Surface pushes us to question our perceptions and somatic experience of a highly immersive environment. We are mesmerized and even absorbed by the work’s trompe l’oeil effects and yet critically aware of their impossibility. Trapped behind the cloth, the dancers—who cannot see us or our world beyond the white screen—become clear metaphors of our own confinement within our always finite and imperfect worldview. In this manner, Deep Surface places its dancers in the same position as Plato’s prisoners, which in turn allows us, the audience, to experience a revelatory Brechtian distancing or estrangement effect." 

 quote from Into the Deep Surface, Daehyung Lee