Homunculus, 2018 Glass, Gold Leaf 24k, W10" D12 H12"

Today, humans have entered into a contemporary society that values a marked individuality, but the parent’s generation, which controls the society, is still conservative. Parents want to get satisfaction from their children by infusing their values. The children meanwhile are in chaos, confused between a rapidly changing society and the conservative values of their parents.

Toys represent the purity and innocence of childhood and it is through this purity and innocence of toys that people have some of their most profound experiences in life.

TICKYTACKY /PINK#314 2015 Glass, W9.5" D9.5" H7.5"

If we use children as an analog for toys, then society can be thought of as a factory that produces inferior toys (children) with only the goal of gaining the highest profits (producing adults that will be good earners). Through my artwork, I want to express that children in Korea today are like mass produced toys. They are meant to be all exactly alike, lacking individuality and quality of character, a whole society of people who are easily replaceable and hold little value as individuals, just like mass produced plastic toys or paper dolls.

Namdoo Kim is a contemporary artist with a focus in Critical-Pop Art. He has a very individual and personal voice within his body of work. Using a sense of sarcasm and pop-style resources, he is revealing political problems of Korea.

He is dealing with critical aspects of contemporary Korean society and its effect on people, particularly the relationship between children and parents. He uses products for children, such as toys and dolls, as vehicles for symbolism in his body of work. Now he is focusing on creating authenticity and depth in his work criticizing the social norms in South Korea and showing the differences and similarities compared to cultures around the world.

Originally from South Korea, Namdoo Kim currently is studying his Ph.D. research at The Australian National University. Kim received a BFA in glass and ceramic at Hong-ik University in Seoul, South Korea, before earning his MFA in glass at Rochester Institute of Technology, NY in 2013. His work has been featured in exhibitions around the world. He also had been selected as an Artist in Residency at Pilchuck Glass School and Corning Museum of Glass.

Namdoo Kim

Brooch: Plum Blossom, 2015

Wood, rice, silver, lacquer, 8 x 2 x 14cm

Brooch: Blue Thistle, 2015

Hanji( traditional korean paper), rice, ebony, water color, porcelain pigment, nail polish, 9 x 6 x 11 cm

Brooch: Hide and Seek, 2015

Hanji(traditional korean paper), rice, found glass, amethyst, oxidized silver, water color, acrylic color, 6 x 5 x 8cm

Brooch: Eat It or Wear It, 2015

Hanji( traditional korean paper), rice, ebony, oxidized silver, brass, nail polish 4 x 4 x 11 cm

Brooch: Lotus, 2015

Rice, paper, found wood, aventurine, oxidized silver, water color, 6 x 4 x 10 cm

Brooch: Untitled, 2015

Hanji( traditional korean paper), rice, beans, silver, wood, lacquer, 11 x 6 x 10 cm

Brooch: Black with Black, 2015

Hanji( traditional korean paper), rice, ebony, oxidized silver, lacquer, obsidian, 10 x 5 x 7 cm

Brooch: Pink Daisy, 2015

Hanji(traditional korean paper), rice, oxidized silver, purple heart wood, acrylic color, 6 x 3 x 9 cm

Brooch: Rutile Vase, 2015

Rice, purple heart wood, coral, rutile quartz, oxidized silver, keum-boo (24k Gold Foil), water color, 6.6 x 5 x 10 cm

Brooch: Untitled, 2015

Hanji( traditional korean Paper), rice, wood, oxidized silver, nail nolish, 10 x 2 x 15 cm

Born in Seoul, South Korea. In 2005 studied Bachelor of Arts at Hong-Ik University, Metal Art and Design in Seoul, South Korea. In 2012 studied Bachelor of Arts at Fachhochschule Düsseldorf, Applied Art and Design, Germany. In 2015 graduated Master of Fine Arts University of Applied Sciences Trier, Gemstones and Jewellery, Idar-Oberstein. Lives and works in Pforzheim, Germany.

Every day we are surrounded by and interact with countless objects. What are they and why they are so commonplace that we sometimes not notice them? Although we neglect them easily, they help us to live our lives more comfortably, easily and elegantly. They are so intimate with our daily life, that we often loose recognition of their existence. We become aware them only by our needs or by sense of absence when they are gone.

Beyond the consideration of preciousness and non-preciousness, we need to question how the material can act storage of ideas. The ideas might not only be focused on gold and silver, but also can be with things that surround us daily and how these materials can be alternatively considered. Without the restraints of high value materials there is the freedom to face the common perceptions about jewelry. Jewelry itself has a great value, but mostly this value depends on what materials it is made of.

But I think jewelry can be made from any other materials such as natural and man-made materials, wood, stone, glass and metals and so on. I am from the culture, where the jewelry is just focused on money. People generally don’t perceive jewelry conceptionally as a tool of expression but as financial property. The people’s imprinted thinking is that jewelry is supposed to be made of precious metal and decorated with gemstones. This has made people hesitant to explore the use of various ingredient within material.

For that reason, I was always questioning if the material is not conventional how can it create a value in the eye of the wearer or viewer? If a piece of jewelry is not ‘precious’ in the traditional way, then what is it that attracts us to it and still are thy valuable?

For example, when people think about rice and beans, the first thing that comes to mind is food-not adornment, not gold or silver. These grains are important for our nourishment and survival. To me, they have a sort of beauty to them.

The purpose of my pieces are for viewer or wearer may appreciate values beyond the material. My practical works are made with rice, beans, found objects, paper and silver. One is clearly perceived as more valuable than the other. This will indeed lead contrasting combination to the wearer and everything that is valuable or not, in our perception, becomes valuable in a variety of way. - Saerom Kong

Saerom Kong

PaperBricks Pallet 2016, paperbricks

Using the PaperBricks, the PaperBricks Pallet series were created to show how the PaperBricks could be used constructively. The series consists of two coffee tables and a bench.

PaperBricks Pallet Coffee Table Detail

PaperBricks Pallet Bench , 2016

PaperBricks Pallet Series, 2016, paperbricks

Alchemist’s Furniture 2017, newspaper, wood glue, wood

The Alchemist’s Furniture is series of furniture which explores the transformation of a material into another element through the application and the technique. Paper is sculpted into branch like structures which has the aesthetics of a marbled stone, while having the tactility of both rough stone and soft paper. Just like an alchemist would, a lifeless material from old newspapers have been given a new life as a furniture of another element.

WAXED 2015, paraffin wax, wood

Wax is a material which gradually disappears over time. With this project, I wanted to use the wax to freeze the time and also hold the construction together.

PaperBricks_Sculpt series 2017, paperbricks, paper, wood glue, wood

PaperBricks_Sculpt series is an exploration into the material and its contrasting characteristics. Paper can be both soft and hard, rough and smooth, systematic and irregular which can be seen in this series. The soft surfaces, rigid shapes in contrast to rough and natural forms. The contrast is also in the way of working. The mould manufactured bricks to freely sculpted legs.

WooJai Lee is Korean - New Zealander designer based in Eindhoven, Netherlands. He likes to work with different materials, experimenting and exploring their hidden potentials. He works in both constructional and sculptural ways, mixing the qualities of the two to create unique style of works. They are highly influenced by his interest in materials, craftsmanship, drawing and sculptures.

WooJai Lee