Large Horybyung Silver Ice Vase, Hand Raised from a single sheet of silver, Height: 24cm, Diameter: 19cm, Weight:1.1Kg

Pair of hand-raised beakers , Hand Raised from a single sheet of silver

A fabulous pair of hand-raised beakers by William Lee, both approximately 105 mm high and 80 mm in diameter at the widest central point. Executed in thick gauge Fine Silver and datemarked for 2009. Sold by us in 2009 recently taken back in part exchange against a major piece. Mint condition.

detail , Hand Raised from a single sheet of silver

detail , Hand Raised from a single sheet of silver

All William's pieces are made from one piece of silver, and are totally made by hand hammering. They are then ornamented by hammering, without addition or reduction. He is probably the leading hand hammerer of all the contemporary Silversmiths.

He was named the 2003 Young Silversmith of the year, and graduated from Camberwell College of Art in 2004. He worked with Hiroshi Suzuki the leading contemporary designer silversmith until starting on his own. His work is found in several City Livery Companies; the V&A; Philadelphia Museum of Art; Aberdeen Art Gallery and Museum.

Vase , Hand Raised from a single sheet of silver

Vase , Hand Raised from a single sheet of silver

Moon Jar, 2008, Hand Raised from a single sheet of silver

William Lee, a Korean artist graduated from Camberwell College of Art in 2004. Prior to this, he was awarded first prize from the Young Designer Silversmith award in 2003 for his spectacular piece "Britannia Silver, Wood Core".

Maebyung, Hand Raised from a single sheet of silver

A key inspiration for William is the movement of liquid. This reflected in the overall shape of his crafted silver. His work is always raised from one piece of silver thus 'it is seemless' and he has a rare gift for ansporting a 'soul' to the finihsed piece of metal. William Lee's talent is acknowledged worldwide and he has exhibited in numerous international locations.

Horibyung, Hand Raised from a single sheet of silver

Gold & Silversmith William Lee , through the process of raising from one gold disk only by hand hammering

"Basic concept of design in the early stage was the image of the fluid - such as a drop of liquid and air movement on the silver surface. With regards to this concept, my intention was to express the energy of the inside, the power of nature and the change of the fluid by gravity, not controllable by human. Recent works have been shifting to more conceptual and to experimenting expansion the design boundary from ceramic form grafting onto metal works. I construct innovated forms and surface inspired by oriental traditional philosophy. This experiment shows the possibility of the expansion in the metal inspiration."

William Lee

Fall, 2016, rawsilk and cotton, 250 cm x 114 cm

Blondous, 2016, mulberry silk and metal

Growth, Wild-silk, jute, hemp, cotton, linen and wire. Series of hand-woven sculptures, 2017

Three large pods woven from linen, silk and jute are suspended full-height occupying the space of the gallery. A hybrid between organic and alien forms, they look lightweight and present themselves as welcoming and soothing cocoons despite their rough finish. Reminiscent of giant plant pods and insect nests, each form has a muted colour with fibers and threads that let us see through.

Her work focuses on sculptural textiles and weaved materials. Her objects offer humble beauty with an emphasis on the handmade, imperfect and unfinished.

Seating, 2013, Sheep-wool, hemp and Thonet chair

Soojin Kang (b. 1978, Seoul) has been working on her full time art practice since 2009 when she completed her MA in Textile Futures at Central Saint Martins college of Art and Design, London. Her practice has been evolving from her early interests in fashion and textile design through a diverse range of media, including soft sculpture, video and installation.

Her group exhibitions include Reclaim/Repurpose, Derry, Ireland, Threads That Bind Us, Milan, Italy and Talking Textiles curated by Lidewij Edelkoort, Milan, Italy. More recently she exhibited an interactive textile installation TableStitch at the Victoria and Albert Museum where audiences were invited to perform. Her artwork has been featured in Viewpoint Magazine, The New Artisans, Dezeen, Domus, and Chosun Ilbo. Her objective is to infuse the sense and idea of emotional sustainability through craftsmanship.

Soojin Kang

21g, Paper, Natural Lacquer, 11 Pieces (1 Set)

Ott-chil is a type of Korean lacquer technique that is done by adding the secretions of the "Ott" tree, released as a protective response to wounds. Collecting this from the ott-tree is an intricate and difficult process that can be done only by experts. The lacquer produces incredibly durable finishes in most of the materials. It offers antibacterial effect and its color is very elegant. This is why it has long been treated as the very best material for tableware in Korea.

21g, Paper, Natural Lacquer, 11 Pieces (1 Set)

In my project, I applied ott-chil to papers to make a new material for tableware which has the strong points of ott-chil as follows: waterproof, durable, sterilized and eco-friendly. I also felt an interest in exploring the gap between luxury object and everyday object, heavy strong material and light weak material. I tried to follow the traditional way of applying lacquer, but at the same time wanted to suggest a new object, a new material and a new shape based on a new design adapted to modern living.

21g Making Film, Design Academy Eindhoven, Man and Living Dep. Graduation Project, 2016

People could not easily imagine the weight and the texture of the tableware when they just look at the object. By touching and using it, I want people to feel and experience the luxury of ott-chil, the lightness and the usefulness of this tableware even it is made by paper.

Seungbin Yang