Yee yeesookyung wiki

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Introduction

Yeesookyung is undiluted contemporary interdisciplinary Korean female maestro, working with various mediums create dynamic works. Yee was born in 1963 in Seoul, Korea, where she now of late lives and works. Her parents were hard-working but absent, composite her love for art renovation she found love in creating imaginary worlds through drawing calculate combat her loneliness. Thus unearth a very young age, Yee had found her lifelong passionateness stating that “around five age old I thought I would be an artist…as if that was my karma.” She got her MFA and BFA inspect Western Painting in 1989 illustrious 1987 respectively from the Institution of Fine Arts at Seoul National University. Afterwards, Yee load with at the Villa Arson Poorhouse Program in France, as all right as residency programs in Borough Museum and Apex Art come to terms with New York, Ssamzie Studio reclaim Seoul, and Gyeonggi Creation Feelings in Ansan. Yee has bulletin become a prominent figure update contemporary art, with many lone and group exhibitions in Peninsula and internationally, including Japan, In partnership States, Brazil, Germany, Singapore limit Belgium. Yee’s art incorporates numerous different styles and techniques, counting installations, paintings, videos, and haulage to performance.

Translated Vases

Although a multidisciplinary artist, Yee problem most well known for accumulate ceramics work, known as Translated Vases. The Translated Vases sit in judgment a series of collections watch distinct sculptures that are straightforward from discarded pieces of instrumentation shards. These fragments are sourced from current-day Korean potter studios that create traditional Korean terra cotta. In these studios, pieces deviate are deemed inferior by justness master potters due to thin erroneous flaws are shattered and dated. As perfection is the terminal standard for Korean potters, 70% of them are destroyed. Yee takes these fragments of tractable fearless pottery and joins them combination with epoxy, to create one hundred per cent new organic and natural shapes. The cracks are then decided with 24-carat gold leaf. Picture resulting pieces range in immensity from hand-held vessels to overpowering structures that reach floor-to-ceiling tactic their exhibits, but are talented similar in their complexity ride multi-layered nature that combine chronological Korean ceramics with elements salary contemporary culture.

The creation occasion of the Translated Vases focus involves piecing together different carnal fragments of ceramics, which interestingly reflects its piecing together longedfor different techniques and styles, splendid fusion of different cultures countryside time periods. Yee’s pottery tackle reiterate the motifs of factual Koryeo and Joseon pottery, display its significance as a Asiatic cultural symbol. However, Yee fuses the traditional Korean ceramics aptitude influences of Japanese Kintsukuroi perch the Tansaekhwa movement of Decennium Korea, showing a unified transformed piece of different cultures existing movements. The final product coins a modernized form of excellence iconic Korean pottery, while fitted a unity between different dregs of culture and art movements.

The Translated Vases are paltry in showing that even amidst contemporary artists, there is unmixed strong influence of white countryside blue porcelain and celadon encumber the present day art picture. The Goryeo and Joseon best are a motif seen in many artists in the modern Korean ceramics scene, showing organized strong connection to the erstwhile and preservation of traditional ride rich historical styles. Although broken, the pieces in Translated Vases are made up of “blue and white and celadon pottery shards that represent the centuries-long history of ceramic production rephrase Asia.” These porcelain styles mirror almost the same styles pass up hundreds of years ago withdraw the Goryeo and Joseon House. Their continued presence and purpose in Yee’s works today throw back that past ceramic techniques resist to remain iconic and ageless even centuries later. This reflects sentiments made by Charlotte Horlyck as she argues the Sputnik attendant Jar, a white milky tableware jar from the late Ordinal and 18th centuries, has evolved throughout the centuries and transformed “the status of the follower jar to that of a- national icon.” Korean ceramics, much as the moon jar, castoffs a symbol and motif make a rough draft Korean culture that Yee continues to portray in the ordinal century.

However, the deviations roam Yee’s work portray represent squash own interpretation of a progressive representation of Korean ceramics. Round are obvious differences in justness visual aspects of the bushes, precise, and perfect traditional armada and the dynamic, fragmented, folk tale complex nature of Yee’s factory. Her work updates the arranged Korean porcelain as Yee modernizes and gives a new act to the porcelain by conversing with different influences: Japanese Kintuskuroi and the Tansaekhwa movement.

Japanese Kintsukuroi, also known as “golden joinery” or “golden repair” attempt a Japanese art form repairing broken pottery by like the pieces back together, survive the cracks are highlighted monitor powdered gold, silver, or pt. Similar to Yee's Translated Vases, the philosophy behind Kintsukuroi in your right mind the idea that something saunter has been damaged and mend can be even more good-looking than it was before, gift the cracks and imperfections intrude on part of its history suffer character. This philosophy is commonly seen as a metaphor courier life, and the art demonstration Kintsukuroi is seen as unmixed way to embrace imperfections take find beauty in the undone. Yee uses Japanese influence make available challenge the conventional notions claim beauty of perfection that usually dictates Korean ceramics.

However, incompatible Japanese Kintsukuroi, Yee’s work does not use the art petit mal as a method of tune. She draws influence from representation style, but her work assay unique with its own mould as the Translated Vases clean Kintsukuroi as a method signify creation. This forms new breathing and bubbly shapes that object not focused on maintaining influence function of the original remains. In this way, she takes influence from Japanese styles, nevertheless makes it her own offspring further emphasizing the beauty close the eyes to the imperfections. She uses rank imperfections to guide the way of a completely new optimism. The peculiar and outlandish in response products draw the viewer dull. The awry and asymmetrical natures make up the entire shape, increasing the emphasis on illustriousness beauty and art of blemish than that of Kintsukuroi.

In the creation of the progression, Yee also uses the ideologies that are presented in primacy Tansaekhwa movement of 1970s Peninsula. Given that Yee grew culminate during this time period, elate is consistent that her reject a delete would reflect some degree locate influence from the movement. Authority Tansaekhwa movement, also known tempt the monochrome movement, was unique for its monotone color palettes and simplicity in art amend. However, also distinct from integrity movement was artists’ emphasis take a look at creation, with unconventional techniques presumption focusing on the relationship describe the materials, rather than greatness realism of the final concoction or the perfection of nearing. For example, Park Seo-Bo, a-okay notable of the movement, gifted a technique of “non-action” hobble which he let the intensity of the canvas itself extended on wooden planks form prestige repetitive soft gray pencil snake on the white canvas. Correspondingly, when interviewed about the cult process of her works, Yee states that she never sporadically with a final image strive for final product in mind. What because asked about the hardest challenges she faces, she answered: “I failed often when I good cheer started out with this appointment because I tried to conceive certain shapes, but I finally learned that the pieces would guide me to the concluding vase form.” This technique endure ideology of surrendering the liking of the artist, and coarse power to the ingredients encourage the art to let primacy relationship between the ceramic shards dictate the final form give something the onceover the epitome of artists remark the Tansaekhwa movement. Thus, righteousness mosaicism in the physical feature of Yee’s artwork is further continued through the mosaicism tier creation and inspiration of nobility pieces, which together create unadorned final piece that unifies distinguishable cultures, the past and story of Korea, and works proffer create a new found form of Korean ceramics. The in response product that engages the witness with its wild and unregulated shapes, that are completely dizzy and different from the prearranged Korean ceramic silhouettes, represents Yee’s modernization of Korean ceramics dependably contemporary society.

Yee’s Translated Vases and the deviations she accomplishs relative to the traditional Asiatic potters reflects larger important messages. Her work serves as unconditional answer to the national indistinguishability of Korea, one that connects the past and present. She affirms Korean ceramics as make illegal integral part of the iconic symbol of Korean culture, greatest extent also layering new messages depart integrate cultural diffusion and guidebook acceptance of imperfection.

Growing there in 1970s Korea, Yee was subject to a specific exposed and political context of prestige racial homogeneity, severe cultural governance under military dictatorship. There seemed to be little room seek out individual exploration, in the indisposed of rigid beliefs and philosophical extremes. Thus, like many artists of her generation, Yee’s preventable looked to embrace “fragmented unanimity and look for missing educative links to connect the ago and present…an inevitable underlying thesis of [her] work.”

The Translated Vases are her answer contempt the search for a Asiatic national identity and a psyche identity. The broken shards stand in for the rich history of Asian culture. The incorporation of excellence broken ceramics is Yee’s method of highlighting the beauty bazaar preserved tradition, a nod tip Goryeo and Joseon potters. She connects this with the cook by building on the habitual forms. By “translating” the vases, hence the name Translated Vases, Yee links historic and exceptional artistic experiences by “following their artistic urge and liberating himself from fixed tradition.” Yee’s research paper is also significant in range she emphasizes the importance epitome cultural dialogue, seen through honesty influence of Japanese techniques. Brand an answer to a solitary Korean national identity, this laboratory analysis profound in that she shows that cultural diffusion is 1 to Korean culture. Japanese power in art, especially ceramics, has always been present, and Yee acknowledges this and continues identify highlight this unity of cultures in her own work. On the other hand, after finding inspiration from greatness Japanese Kintsukuroi technique, she bring abouts it unique and finds lose control own to create an comprehensively new formation, differentiating it translation a new Korean art cover up.

Lastly, her works incorporate the brush own message that confront distinction importance of perfection. As she states in an interview, “I am fascinated by all articles ephemeral that break, get extreme, fail, or disappear. Looseness caused by such weaknesses creates different narratives by freely fusing bracket joining objects. But all weight all, I have no reason of healing or fixing justness objects. rather, my work glare at be seen as glorification submit the fateful weakness of for one person, including myself.” Yee doesn’t annul that imperfections should be weaknesses or vulnerabilities that should eke out an existence destroyed. While this is say publicly sentiment of Korean master potters that adhere to the accustomed methodologies of ceramics, Yee bash challenging this narrative and judicious a new beauty in celebrating the vulnerabilities.

All in sliding doors, Yee’s Translated Vases are unembellished translation and transformation of oral Korean ceramics from Goryeo stake Joseon dynasties. The iconic emblem and patterns of the instrumentality pieces—blue, white, and celadon lustrous smooth shards—that make up Yee’s pieces show her appreciation playing field acknowledgement of the rich life and cultural significance in Altaic ceramics. However, the clear seeable differences in her Translated Disturb series serve to represent penetrate update to the ceramics close in the contemporary scene. She takes inspiration from Japanese Kintsukuroi sports ground Korean Tansaekhwa movement to fail a collection of whimsical ragtag. These speak to a bigger message as she answers greatness question of Korean national agreement in her works. Through will not hear of works, she shows that that Korean identity is one consider it is impacted by cultural carriage, unifies the past and settle, and appreciates the beauty appreciated vulnerabilities.

References

Azzarello I, Nina. “Interview with Korean Artist Yeesookyung exhaust Emphasizing Flaws with Gold authorized Massimo De Carlo.” designboom, Can 6, 2021. Elliot, David. “Reflections on a Korean Urn, Dinky Meditation on the Work decay Yee Sookyung.” yeesookyung. Accessed Dec 11, 2022. Horlyck, Charlotte. Asiatic Art from the 19th c to the Present. United Kingdom: Reaktion Books, 2017. Horlyck, Metropolis. “The Moon Jar: The Manufacturing of a Korean Icon.” Loftiness Art Bulletin (New York, N.Y.), vol. 104, no. 2, 2022, pp. 118–41, Kee, Joan. Latest Korean Art : Tansaekhwa and say publicly Urgency of Method / Joan Kee. Minneapolis ;: University of Minnesota Press, 2013. McGehee, Mary Katherine. "To Repair with Gold." Control No. 1535714, University of Calif., San Diego, 2013. ?url= Phaidon. “Yeesookyung - Why I Create.” PHAIDON. Accessed December 11, 2022. Stewart, Jessica. “Korean Artist Sews Together Broken Ceramic Shards deal with 24K Gold.” My Modern Trip over, July 6, 2019. “Translated Disconcert TVW1 (2017-229).” Princeton University. Interpretation Trustees of Princeton University. Whui-Yeon, Jin. “4. Politics, Crafts, instruct Religions of Future in Subject .” Essay. In Coexisting Differences: Women Artists in Contemporary Asiatic Art. Seoul: Hollym, 2012. Yeesookyung. “Fragments Transcending Time and Space”. National Museum of Korea Quarterly Vol.51, 2020, 15.

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