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Designing Women, Egg Collective Showroom, 304 Hudson Street, #307 New York, NY 10013, May 1-31, 2017

Optical Orb Vase, Twist No. 3, Evening Platter Vase, Albers Ripple Rug, Figure Eight

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The 2016 Collection is a new series of non-function table top sculptures and vessels that celebrate the nuances of geometric forms and how our perception of them are influenced by the limitations of material itself. Despite the infinite possibilities inherent in mathematics and space, objects can personify a place where memory is a formed in a state of of suspension and flux.

Cairn Vase, Buoy Pod, Undulation Cone, Hazy Stripe Cone, Gradation Ripple Eye, Spiral, Hourglass Vase, Ripple Track

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The 2015 collection of objects and vessels were inspired by the personification of infinity and how the meaning of forever can be materialized in both abstract and literal ways. From the smoke rings of a fire, an urn for one's ashes or a simple hat, this series explored ways in which the absence of self could be transformed into residual forms.

Smoke Ring Doorknob Vase, Smoke Ring Glove Vase, Milliner, Loop Vase, Pendulum

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Undulation Cone

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Ripple Rock Container

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Tiered Turbine Vase

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The Bracelet Flask is a wearable porcelain vessel that holds a shot’s worth of liquor. The shape was inspired by a small ring-shaped Pennsylvanian hip flask from the 19th century. Celebrate a forgotten form in American ceramics by wearing it on your wrist.

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object & totem fall 2013

Object & Totem is a handmade ceramic studio founded and operated by Julianne Ahn, a graduate from The Rhode Island School of Design and The School of the Art Institute of Chicago with a background in Textiles and Fiber & Materials Studies.

Inspired by the nuances of meditation and form, each product is hand thrown or built to maintain its novelty, craft and memory whether functional or an intimate piece of decor. Formerly based in Philadelphia and Berlin, the studio is currently located in Brooklyn, NY and continues to evolve, with a current emphasis on classic tableware, limited edition vessels and experimental art objects.

Object & Totem

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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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