From the late 1970s until his later years, Quac Insik created many works by dotting rice paper with ink or paint. The layers of overlapping color dots bring depth to the flat surface, creating a vibrant and lively atmosphere. Despite Quac’s history of experimenting with inventive materials and techniques since the late 1950s, these dotted pieces may initially seem unrelated to his other works. However, even in these dotted works, he actively embraced the material nature, acknowledging that once paint seeps into the paper, the paint and paper become inseparable.

Moreover, Quac Insik was not inclined to categorize his works under terms like contemporary or avant-garde art. He described his actions as ‘marking’ if he had to put a label on them. ‘marking’ holds two meanings: first, outwardly revealing something, and second, recording on the surface. These dual meanings encapsulate the essence of Quac Insik’s works. Through the ‘marking’ of dotting paint on paper and piercing holes in steel plates, Quac Insik unfolds a profound world on the paper’s surface, revealing the depths beyond the steel plate, allowing one to finally hear the voice of the objects.