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Skin texture, bracelet, 109 x 104 x 37 mm, silicone, 2017

The starts with a concept of new jewellery where body decoration effect is substituted by the skin itself through the transformation of the body skin. The aim is to show a surreal body that opens toward a new visual concept through the transformation of the skin which looks like the transplantation of a jewel into the skin.

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Skin texture 2, brooch, around 90 x 46 x 27 mm, silicone, stainless steel, 2017

As ‘Animal Becoming,’ a philosophy of Gilles Deleuze, states, my skin is opened with a new response by transforming it through an actual skin of animals. Through a transformation between animal and human, changes can be brought to the source of my behaviors. Such transformed body expression may have the significance to perceive a new self and find independence.

The produced through a medium called silicone has the form of jewel carved in the realistic wrinkles of the skin. Although the body wears an jewellery, the jewellery is so similar to the skin that the jewellery looks the same as the skin. However, the existing skin is coated with a foreign form. It is generated from the desire to expand the self through the transformed skin ‘the Second Skin’.

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Wrapped skin_brooch 4, pig intestine, copper 63 x 105 x 25 mm

The brooch series of are an evolution of intention to express ‘extension of skin’, where ‘the second skin’ is substituted by the skin of non-human. I wanted to express the form, where body skin itself can become an jewellery, as by preparing the foundation of body concept which is expressed as jewellery and has significance. appears as the body skin which has changed to skin of organism and this means an embodiment of opening body skin to new activity and response by modifying self body skin through actual surface of animal.

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Wrapped skin_brooch 9, pig intestine, copper 35 x148 x 35 mm, 2017

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Wrapped skin_brooch 7, pig intestine, copper 103 x 72 x 32 mm, 2017

Also, by replacing skin of reptile by body skin and contraposing as a skin of other species, I wanted to find independent body through empathy or differentiation. In other words, I wanted to show new significance of jewellery through the beauty of modified body. A medium of skin expression, the membrane of animal’s inter organ, has also the concept of skin as jewellery through the transforming of internal skin of body into external skin in the non-human body. This is a finding of another self in the process of existing skin’s distortion into a new one.

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Wrapped skin_brooch 1, pig intestine, copper, 2017

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Wrapped skin_brooch 2, pig intestine, copper 90 x 68 x 28 mm, 2017

A subtle exchange between reality and ideal through an ironic skin modification is embodied into a new idea. Such a displacement between the subject and the object is not only a process of observing self, finding an independent body, and actualizing the desire mechanism, but also a play that enjoys a formative expression.

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Second languae 2, brooch, metal mesh, resin, 2015

‘Second language’ is showing this person’s intuitive formative language like drawing. This person intended to discover a potential which will become something more than a form with the possibility of a form which changes in intuitive perception The ‘second language’ is organic creases consequent on materials. This is the process of being transformed into the endless dynamic form through organic windingness, crookedness and folding by constructing an abstract form using organic creases consequent on materials.

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Brooch 05, Jewellery as Second Skin

Kyeok KIM

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164209-1660227 55 x 40 x 18 cm

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210243-211109 16 x 20 x 14 cm

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145763-147167 20 x 20 x 20 cm

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WFG 31 55 x 55 x 30 cm

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WFG 02 14 x 90 x 25 cm

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WFG 01 19 x 32 x 72 cm

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The laps of time involves duration, repetition, transformation, circulation. It is continuous, repetitive and circular. the change always follows with the repetition and circulation. This time is along with nature as well as human. However, modern society increasingly separates it between human and nature, which has become the main cause of the alienation of human beings, and prevalent in modern society. In the boundary of art, a study of the laps of time is ultimately a study of the human.

Samuel Beckett revealed the laps of time in nature in his play ‘Waiting for Godot’, by the two main characters repeatedly waiting for the Godot. Beckett’s plays become the motives of my work and title. Working with the clay as a natural material is unifying the time of nature and human. The clay contains the time of duration, repetition, transformation and circulation.

And the artist inevitably harmonize himself with the laps of time in nature. and the one who work with have to match the time with it inevitably, in order to work with. I think the essentiality of the clay material is the laps of time, and worked through with the clay to reveal the laps of time. The continuos repetition of labor would be inevitable in order to visualize infinite of time because human is mortal. Putting the serial numbers and attaching tens of thousands of small blocks leads me to the stage of impassivity and makes super temporal experience.

I discover myself in super temporal experience. The experience of these can be passed through by the work made by constant repetition of labor, to the audience too.I tried to visualize and record the laps of time in nature by working with it. The continuing repetition of labor helps me to overcome with alienation of human beings and to discover myself by the super temporal experience. Recording the laps of time gets its meaning only when performed repeatedly for a long time and it can deliver to audiences.

So, I think the last three years of work experience is not me long. On the basis of what I have studied, I will try to get closer to the repetitive and circular time of nature by continuing repetition of labor. - BAE SE JIN

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Bae Sejin is a ceramicist based in Seoul. He received his B.F.A and M.F.A. from Seoul National University in 2010 and 2012, respectively.

In 2015, he received the bronze prize in the Taiwan Ceramics Biennale International Competition, silver in the Cheongju International Craft Competition and bronze in the Korea Ceramic Arts Award of Korea. He has also been selected for numerous other ceramic and craft competitions in Korea and Taipei.

He has participated in a number of group and solo exhibitions in the UK, the United States, Italy, Germany, and many more.

BAE SE JIN

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Homunculus, 2018 Glass, Gold Leaf 24k, W10" D12 H12"

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Today, humans have entered into a contemporary society that values a marked individuality, but the parent’s generation, which controls the society, is still conservative. Parents want to get satisfaction from their children by infusing their values. The children meanwhile are in chaos, confused between a rapidly changing society and the conservative values of their parents.

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Toys represent the purity and innocence of childhood and it is through this purity and innocence of toys that people have some of their most profound experiences in life.

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TICKYTACKY /PINK#314 2015 Glass, W9.5" D9.5" H7.5"

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If we use children as an analog for toys, then society can be thought of as a factory that produces inferior toys (children) with only the goal of gaining the highest profits (producing adults that will be good earners). Through my artwork, I want to express that children in Korea today are like mass produced toys. They are meant to be all exactly alike, lacking individuality and quality of character, a whole society of people who are easily replaceable and hold little value as individuals, just like mass produced plastic toys or paper dolls.

Namdoo Kim is a contemporary artist with a focus in Critical-Pop Art. He has a very individual and personal voice within his body of work. Using a sense of sarcasm and pop-style resources, he is revealing political problems of Korea.

He is dealing with critical aspects of contemporary Korean society and its effect on people, particularly the relationship between children and parents. He uses products for children, such as toys and dolls, as vehicles for symbolism in his body of work. Now he is focusing on creating authenticity and depth in his work criticizing the social norms in South Korea and showing the differences and similarities compared to cultures around the world.

Originally from South Korea, Namdoo Kim currently is studying his Ph.D. research at The Australian National University. Kim received a BFA in glass and ceramic at Hong-ik University in Seoul, South Korea, before earning his MFA in glass at Rochester Institute of Technology, NY in 2013. His work has been featured in exhibitions around the world. He also had been selected as an Artist in Residency at Pilchuck Glass School and Corning Museum of Glass.

Namdoo Kim







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