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Proliferation 16 / Brooch / Sterling silver, Polymer clay, Stone clay/ 74 x 103 x 30 mm / 2015

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Proliferation 17 / Brooch / Sterling silver, Polymer clay, Stone clay, Pearl/ 57 x 101 x 37 mm / 2015

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Proliferation 13 / Brooch / Brass, Stone clay, Polymer clay/ 74 x 110 x 30 mm / 2014

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Proliferation 5 / Brooch / Stone Clay, Brass, Enamel Paint/ 7.4 x 10.3 x 3.6 cm / 2014

PROLIFERATION - "Often likened to "fairies in forests," mushrooms belong to the kingdom of fungi, which are neither plants nor animals. They are living not only on roadside trees but also on fallen leaves, and they are everywhere and suddenly disappear without a trace.

The mushroom can grow alone or in group, and the group of mushrooms presents the image of proliferation, which can be discovered in repetition of a certain mushroom form, gradual alteration of sizes, arrangement of individuals and rhythm seen through wrinkles and texture. This group appears in silence and makes us feel their presence by filling empty spaces in cities.."

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Slowly 6 / Brooch / Sterling silver, Polymer clay, Stone clay/ 63 x 95 x 33 mm / 2015

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Slowly 5 / Brooch / Sterling silver, Polymer clay, Stone clay/ 52 x 101 x 27 mm / 2015

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Slowly 4 / Brooch / Sterling silver, Polymer clay, Stone clay/ 76 x 82 x 67 mm / 2015

Heeang Kim

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

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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.

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detail , Hand Raised from a single sheet of silver

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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.

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Vase , Hand Raised from a single sheet of silver

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Vase , Hand Raised from a single sheet of silver

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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".

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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.

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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

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

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Blondous, 2016, mulberry silk and metal

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

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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.

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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







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