Fluttering flower series / NB0152
Oxidized silver, white pearls, 24k yellow gold leaf
2 1/2" wide x 2 1/2" high on 16" to 18 1/2" multi cable wire

Oriental hill series / N0157
Oxidized silver, white pearls, 24k yellow gold leaf
16" to 18 1/2" length.

The chrysanthemum is bathed in moonlight
Oxidized silver, 18k yellow gold, tourmaline
2" wide x 2" high

Glowing I
10x10x2 inches.
sterling, fine silver and copper wires

So Young Park's contemporary jewelry forms and theory are inspired from her thesis, Nativity and memories from her childhood. She grew up near the ocean in southern part South Korea. So Young used to play with sea life and plants and collected many different kinds of shells and pebbles. She loved touching and observing the surface texture and pattern of shells and various naturally shaped pebbles during her happy childhood.

As So Young grew, she had several tragic experiences involving the death of her friends. She suffered a long time and her view of life and death dramatically grew different from many other people. Through her thesis works, she found that human life and plant life have similar growth and life characteristics. From an atheistic point view, nature reveals the beauty of the eternal cycles of life, like how rebirth transcends the tragedy of death. In order to bear fruit, plants must progress through many stages of life. During this process different parts of the plants body are required to be sacrificed for the fruit. However, this sacrifice does not signify the end of life, but gives birth to new life. In doing so, this process creates the eternal cycle of life. Her thesis pieces express desire, hope, and the power of life through organic plant forms, that are artistically rendered in a simplistic, geometric, and sophisticated manner.

Her jewelry art forms are assembled through the harmonic use of wires, tiny discs, engraved patterns, and textures forged of gold or silver, creating elegant, yet unusual visual forms. The use of wires, small discs, textures, and other small elements represent the single cells that makeup all life. Each piece contributes to long and painful process to create a beautiful and unusual art forms.

So Young Park

Orange Seed Segmentation, 2009; acid etched glass

Purple & Green Embryo Segmentation hot sculptured, cut, assembled glass 5.5" x 11.5" x 8"

Purple & Yellow Segmentation hot sculptured, cut, assembled glass 8" x 12" x 6.5"

Orange & Magenta Embryo Segmentation hot sculptued, cut, assembled glass 6.5" x 12.5" x 7"

Jiyong Lee’s Segmentation Series is inspired by his fascination with cell division. He works with glass that has simultaneous transparency and opacity; two qualities that metaphorically represent the clarity and mysteries of biology.

Homage to DNA, 2008; acid etched glass; 14½

Jiyong Lee is an assistant professor at Southern Illinois University Carbondale where he teaches as Head of the Glass Program. Lee was born and raised in Korea.

The deceptive simplicity and understated intricacy of Lee’s compositions represent the contradictory relationship between clarity and complexity found within life. Similar to the way “cells start to segment and become a life,” the uniquely refined transclucent laminated glass surface suggests the mysterious qualities of cells, and on a larger scale, the ambigiuity of our temporal existence. As the viewer moves around Lee’s objects the play of light transforms the sculpture into startling new forms which play on our perceptions and our expectations.

Ji Yong Lee

#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

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

Brooch: L78
Pearls, found objects, beeswax, resin composite, plexiglass, copper

Necklace: L8
Gold leaf, resin composite, Silk cord

Ring: L6
Mother of pearl, found object, beeswax, resin composite

My observations of everyday lives and daily rituals, and my curiosity about the logic of each event have nurtured my work. Playing with conventional jewelry components, such as broken jewelry parts and gems, I am striving to create a dialogue about the subconscious pursuit of excess.

Having traveled around the world, I appreciate the organic combination of jewelry and the human subconscious. From an antique royal tiara displayed in a museum to a street vendor’s thrifty beaded necklace, the act of adorning and choosing adornments has always kindled on our desire for possession. Using uncomfortable visual associations about body fat, each object simulates the consequences of being excessively desirous. As these objects are adorned with gemstones and playful colors,however, the bitter reality gets sweetened up.

Ji Min Park

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