Rediscovery 0608, 2006, kiln-cast glass, 15 x 15 x 2 in.



Rediscovery 0609, 2006, kiln-cast glass, 15 x 11 x 10 in.



Rediscovery 100306 (2009). Kiln cast glass, 12.5"h x 9.5"w x 5"d.

A Korean professor Sungsoo Kim, working at the Cleveland Institute of Art, puts his sculptures named ‘Rediscovery: New Glass Sculpture’ on public view through his first U.S. solo exhibition. The sculptures that look like a semiprecious stone – carved with utmost care – are actually crafted from recycled glass and Styrofoam packaging materials. The definitive artworks are the medium for the artist to express his concern over an important environmental issue: Pollution.



Rediscovery 08001 (2009). Kiln cast glass, 40"h x 100"w x 10"d.



Detail of Rediscovery 08001 (2009). Kiln cast glass, 40"h x 100"w x 10"d.

In my work with Styrofoam, I try to find something concealed in it. The explicit purpose of this material is to protect products while they are in transit. As such, this material has a vital role in the economic machine, but ultimately it becomes trash. Its only value is conferred to it by the market value of the product it protects.

That value is lost as soon as the product it protects is removed. The depreciation is astronomical from a consumer-commodity standpoint, but I think there is still something valuable in it, that the packaging has value as an object itself. My work of recycling packing Styrofoam is then to seek the ‘value’ which is unseen in its material reality. By taking advantage of a particular type of object - packing Styrofoam - I am rediscovering the concept of ‘object’ that has been utilized in art since the turn of the twentieth century.

Sung Soo Kim

"Across a Crowded Room...." 2009  39"h x 27"w x 22"d



"Across a Crowded Room...."  detail



"Copper Silver Collage" 2002 Glass Vessel Form with Stopper Private Collection



"Basket...." 2006  24"w x 24"h Collection of The Museum of Fine Art, Boston, MA



"Fertile Ground...." 2009   35" x 40" x 49"h

Brent Kee Young, glass artist and Cleveland Institute of Art Professor, has been recognized by scores of museums, galleries, colleges and universities in the United States and Asia, which have displayed and acquired his work and invited him to speak, demonstrate and teach. In 2006, the Smithsonian American Art Museum’s Renwick Gallery acquired its second piece by Professor Young for its permanent collection. “Amphora … Save” is from Professor Young’s Matrix Series, a construction of intricate and technically complex works he created by flame working Corning Pyrex glass rods into layers of glass webs. Also in 2011, Professor Young was selected to receive a most prestigious Creative Workforce Fellowship, generously supported by the citizens of Cuyahoga County, Ohio where he lives and works.

Professor Young has conducted numerous workshops in the U.S. and Asia including at The Niijima International Glass Art Festival, Niijima, Tokyo; the International Glass Art Society Conference, Seto, Japan; Grand Crystal, Peitou City, Taiwan, ROC; University of Miami, Coral Gables; Southern Illinois University, Edwardsville; University of Kentucky, Louisville; and California Polytechnic University, San Louis Obispo. He has served as a juror for The National Endowment for the Arts and lectured at the Smithsonian Institution's Renwick Gallery. In 1990, Professor Young was selected as head of glass at Aichi University of Education, Kariya, Japan where he was responsible for establishing the studio, designing and implementing the curriculum and teaching the first glass program in a National University in Japan.

Brent Kee Young

Technique, medium: Flameworked, Borosilicate Glass
Height (cm): 61, Width (cm): 46, Depth (cm): 46, Photo Credit: Arthur Chen

Boxes with the organic form of the tree which becomes a metaphor for the self -- reaching, climbing, singing, and striving.

Korean-born glass artist Eunsuh Choi is something of a portrait artist, whose flameworked pieces are personal narratives, portraits of her own moments of growth. Eunsuh Choi’s is the archetypal immigrant’s tale run through the artist’s filter. Choi arrived in the U.S. having already completed a Master’s degree in glass but determined to pursue further glass education. She chose the Rochester Institute of Technology (RIT) as a place where she could both study English and earn a second MFA degree in glass. Eunsuh Choi uses flameworking techniques to create objects and installations composed of intricately fused glass threads.



A Maternal Instinct  Flameworked, Borosilicate Glass  Variable

Sitting in diligent concentration behind a small torch, she bends and joins thin glass rods into complex arrangements and systematic structures evoking the textiles she studied in Korea. Today, the artist forms countless tiny glass rods into a cube composed within a perfect hexahedron. Eunsuh works her way through a psychological journey that juxtaposes aspiration and limitation; meanwhile, the forms in her art shift to reflect the mental work. She has produced a succession of melting icicles, ladders, cages, boxes, and trees. “In my current work I combine a box with the organic form of the tree.



Progression I    Flameworked, Borosilicate Glass, Silver  8* 8* 10 in

The tree becomes a metaphor for the self -- reaching, climbing, singing, and striving. I place the tree inside the box, a cage with triangular symmetrical shapes as the object that lives and breathes and has the capability of growing or dying. It represents my struggle inside the box of my existence when, as a foreigner and woman, I come across limitations on the attainment of my dreams. Choi has been working glass for 12 years and has broad knowledge in all aspect of glass. Choi’s work has been featured in a number of magazines, including Art Buzz, New Glass Review, Neues Glass, The Club Quarterly, Niche, The Flow, Emerging Glass Artists (Korea), Luxury, Baltimore Style, American Craft, and Profitable glass(upcoming). All of these venues are competitive except for the American Craft magazine and Profitable glass, for which she was nominated as a searchlight artist by the American Craft Council.

Eun Suh Choi







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