#6 02 white oak 2010 16 x 12 x 8

#7 01 ash, copper wire 2010 30 x 23 x 20

# 08 02 ash, copper wire 2010 40 x 30 x 36

My work operates out of the conceptual space where my ideas about human relationship encounter the structural processes of hand made forms. My particular interest in human relationship has been human coexistence in modern global society. I explore issues of intense emotional tension, obsession, violence and sexuality through the material process of bending thin wood strips and stitching them with metal wires. These construction methods express the understanding that every human being is connected, bounded and destined to exist together. 

As such, the form of the human body itself deeply influences my work both formally and conceptually.  I see my objects as containers. The word, ‘to contain’, has an important role in my body of work. As a container, the object makes a boundary of inside and outside, creating a new space and volume. Ultimately, it synthesizes all the elements of the object making possibilities to become more than what it is.  It is in this synthesis of elements that the objects speak to our experience as humans. When we surrender our view of distinction and containment, we allow ourselves the possibility to become something much greater.

Hee Chan Kim

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

ⓒ copyrights 2003-2017 Designersparty, all rights reserved. all material published remains the exclusive copyright of Designersparty.