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Variation 2014, white porcelain, glaze, polishing, slipcasting

The Limitless of Variation from Archetype

'From the Archetype Series' intended to utilize a sphere as a representative of unsophisticatedness, simpleness, conciseness, and flawlessness from unconscious mind along with a curved figure. Decomposition and recombination are the re-producing procedures that thousands of figures can be derived from an archetype. 'From the Archetype' tells a story of building up imperfection status through decomposition of a typical and perfect image, and of seeking the right pieces to complete my own pictorial puzzle.

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Variation 2006, white porcelain, glaze, slipcasting,

The Limitless of Variation from Archetype

This is the series of Variations, to cut and connect each units made out of the slip casting to make one formation. As each units divides into pieces, they make spaces and sufaces of infinite curvatures, and unity between these pieces signifies the evolution to the new form.

The evolution of forms that is continued by divisions and unites, will be ultimately expressed through the images that reflect the lives, by the series of processes called 'Variation'.

Ceramic artist Yoon Sol studied at Seoul National University and is Assistant Professor at Beakseok University.

I’ve taken a bit of time out to explore the world of Korean pottery and probe a bit in to the countries relationship with tea ware. A lot of the objects used in the Japanese tea ceremony were sourced from parts of Korea, and this is what inspires a lot of potters in this day and age who try to mimic this particular style.

So as you can imagine I hoped to find some potters that are producing wares in the same vein, but it’s obvious to see times have changed and many are now exploring ceramics in a more artistic manner. This led me to the work of Yoon Sol who’s produced this fantastic series titled ‘From the Archetype’.

Sol Yoon

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Metronome Wings

“The contrast between metal structural form and natural feather, together with the repetitive and whimsical movements of fragile wings, provokes the imagination and evolves the intimate relationship between work and viewer/wearer.” Intrigued by machines and their movements, mechanical structure has become the most crucial formal language throughout my body of work. Mechanical structure as a form fascinates me in two aspects. First, structural form can achieve complexity yet simplicity at once because of the ingrained logic behind it.

Additionally, mechanical forms involve movement that is not random, but rather is designed or devised, and thus can be interactive. Working in particular with mechanical movements that interact with and involve viewers allows me to give vitality to objects. My wearable/kinetic works are intended to exist between jewelry and sculpture. They stand independently while their close connection to the body creates an intimate relationship with the viewer.

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MEASURE RING WHEEL This series originate from my fascination with geared wheels and is intended to create a kinetic ring that functions as a small-scale measuring tool.

These kinetic rings are designed and fabricated with precisely calculated gears and wheels. When the wearer rolls the primary wheel along a surface it measures length, which then can be read by the two hands on the top dial. Similar to the movement of a clock, the shorter hand indicates ten centimeters, the longer hand is used for one centimeter, while the tick marks on the wheel allow the length to also be measured in millimeters.These are kinetic rings, small sculptures, measuring tools and simply, enjoyable toys.

The parts of the ring were created in different ways: the gears were originally machined and reproduced by casting, some other elements were first made by rapid prototyping and then cast, while other parts were fabricated by hand. The tick marks and numbers were engraved by laser.

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Kinetic Rings with Wings - As nature has been an inspiration to so many artists, the machine was my inspiration, growing up in a soil-less megacity. Perceiving the machine as a replacement or extension of nature, or mechanical form as a way of understanding nature, is the fundamental idea beneath my series of kinetic jewelry and sculpture, Wings. Flapping wings on the tip of a finger or the end of a ticking metronome pendulum evokes emotional connections similar to those that I find from birds, insects, or humans in the mechanized world.

Mechanical structure also fascinates me as a formal language. It is form for purpose rather than for a subjective reason, which ironically is the most fundamental rule of natural forms, so it achieves pure and coherent form even through the most complicated mechanism. It is also an ultimate abstraction achieved through perfection. My kinetic work is born as a machine yet exists solely for itself. It then earns its wildness and lives untamed as I desire myself.

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Dukno Yoon, a metalsmith and jeweler from Kansas creates spectacular rings, bracelets, metronomes, and other machines that mimic the movements of flying birds.

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Dukno Yoon received a MFA in metalsmithing and jewelry at Miami University in Ohio and a BFA at Kookmin University in Seoul, Korea. Yoon explores movements and mechanical structure as form to create small kinetic sculptures and wearable form.

His artwork has been exhibited in Korea, Japan, Australia and the United States. His career as a metal artist/designer also includes costume production of crowns, armor and metal masks for several TV shows by major broadcasting companies in Korea.

He has also received several international awards and federal grants in Korea and has been featured and included in numerous publications. He is currently an Assistant Professor and the Area Coordinator of metalsmithing and jewelry at Kansas State University.

Dukno Yoon

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Consolation, 2003

The ceramic sculpture of SunKoo Yuh, who was born in South Korea in 1960 and immigrated to the United States in 1988, is composed of tight groupings of various forms including plants, animals, fish, and human figures. While Korean art and Buddhist and Confucian beliefs inform some aspects of his imagery, his work is largely driven by implied narratives that often suggest socio-political critiques. Yuh is currently Associate Professor at the University of Georgia, Athens, GA.

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Year Of Monkey, 2016, Porcelain, glazed, 55.9 × 40.6 × 33 cm

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Another Connection, 2006, Porcelain, Glaze, 50.8 × 40.6 × 38.1 cm

The Rubin Center has exhibited two monumental columns that showcase Yuh’s mastery of the complex narrative and of the ceramic medium. Yuh’s work is included in the collections of the Renwick Gallery at the Smithsonian in Washington, DC,The Philadelphia Museum of Art and The Museum of Fine Arts Houston, among others. Honors and Awards include the Joan Mitchell Foundation Grant, the Grand Prize at the 2nd World Ceramic Biennale International Competition, Icheon, Korea, The Elizabeth R. Raphael Founder’s Prize, and the Virginia A. Groot Foundation Grant.

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Another Relationship, 2007

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New Year's Greeting, 2003, Porcelain, Glaze, 58.4 × 35.6 × 33 cm

My work is a means of transformation from interior images to tangible ceramic sculptures.I draw images intuitively and spontaneously with ink and brush.I study my drawings and select a few to transform into three-dimensional clay sculptures.

My work expresses my inner emotions, communicates about life, and directly draws from mundane experiences.I want to record my daily impressions through my works with the hope that it will lead me to small insights into my life and family.While making art may be a quest in search of broad meanings or answers, it may be expressed through intimate awareness of daily life.

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Year of the Pig, 2008

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Sunkoo Yuh (1960 – ) was born in South Korea, immigrated to the U.S. in 1988, and now serves as Professor of Art at the University of Georgia. He earned a Bachelor of Fine Arts at Hong Ik University in Seoul and Master of Fine Arts at New York State College of Ceramics. Yuh’s artwork earned the grand prize in the 2nd World Ceramic Biennale 2003 Korea International Competition.

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Yuh creates ceramic sculptures comprising tight groupings of various forms including plants, animals, fish, and human figures. Korean art plus Buddhist, Christian, and Confucian iconography inform some aspects of his imagery but implied narratives that suggest a socio-political critique largely drive his work.

Yuh’s interest in German Expressionist painting is evident in the elongation of many of his figures and his unsettling spatial configurations. There is a post-apocalyptic sensibility to his sculptures communicated through his dense and dripping glaze (up to 40 layers), a technique that references Chinese Tang dynasty funerary sculptures, which Yuh admires.

Sunkoo Yuh

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