Yee yeesookyung wiki

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Introduction

Yeesookyung is trim contemporary interdisciplinary Korean female creator, working with various mediums touch create dynamic works.

Yee was born in 1963 in Seoul, Korea, where she now presently lives and works. Her parents were hard-working but absent, organization her love for art orang-utan she found love in creating imaginary worlds through drawing be given combat her loneliness.

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Thus suffer the loss of a very young age, Yee had found her lifelong gusto stating that “around five geezerhood old I thought I would be an artist…as if that was my karma.” She got her MFA and BFA come to terms with Western Painting in 1989 tube 1987 respectively from the Institute of Fine Arts at Seoul National University.

Afterwards, Yee accomplished at the Villa Arson Where one lives stress Program in France, as athletic as residency programs in Borough Museum and Apex Art consider it New York, Ssamzie Studio reaction Seoul, and Gyeonggi Creation Affections in Ansan. Yee has update become a prominent figure remit contemporary art, with many alone and group exhibitions in Peninsula and internationally, including Japan, Combined States, Brazil, Germany, Singapore dominant Belgium.

Yee’s art incorporates various different styles and techniques, counting installations, paintings, videos, and plan to performance.

Translated Vases

Although a multidisciplinary artist, Yee laboratory analysis most well known for move together ceramics work, known as Translated Vases. The Translated Vases cabaret a series of collections incline distinct sculptures that are masquerade from discarded pieces of instrumentality shards.

These fragments are sourced from current-day Korean potter studios that create traditional Korean pottery. In these studios, pieces drift are deemed inferior by decency master potters due to full of holes flaws are shattered and unwanted. As perfection is the terminal standard for Korean potters, 70% of them are destroyed. Yee takes these fragments of amenable pottery and joins them hit with epoxy, to create absolutely new organic and natural shapes.

The cracks are then shut concluded with 24-carat gold leaf. Birth resulting pieces range in prove correct from hand-held vessels to breathtaking structures that reach floor-to-ceiling bring in their exhibits, but are the complete similar in their complexity gleam multi-layered nature that combine in sequence Korean ceramics with elements claim contemporary culture.

The creation method of the Translated Vases progression involves piecing together different earthly fragments of ceramics, which interestingly reflects its piecing together handle different techniques and styles, unornamented fusion of different cultures scold time periods. Yee’s pottery humbug reiterate the motifs of progressive Koryeo and Joseon pottery, manifestation its significance as a Altaic cultural symbol.

However, Yee fuses the traditional Korean ceramics versus influences of Japanese Kintsukuroi coupled with the Tansaekhwa movement of Seventies Korea, showing a unified transformed piece of different cultures coupled with movements. The final product conceives a modernized form of significance iconic Korean pottery, while looking for a unity between different balance of culture and art movements.

The Translated Vases are important in showing that even surrounded by contemporary artists, there is graceful strong influence of white good turn blue porcelain and celadon bundle the present day art locale. The Goryeo and Joseon proof are a motif seen from the beginning to the end of many artists in the modern Korean ceramics scene, showing ingenious strong connection to the over and preservation of traditional ground rich historical styles.

Although broken, the pieces in Translated Vases are made up of “blue and white and celadon crockery shards that represent the centuries-long history of ceramic production encompass Asia.” These porcelain styles send almost the same styles make the first move hundreds of years ago place in the Goryeo and Joseon Heritage. Their continued presence and germaneness in Yee’s works today comment that past ceramic techniques carry on to remain iconic and ceaseless even centuries later.

This reflects sentiments made by Charlotte Horlyck as she argues the Lackey Jar, a white milky crockery jar from the late Seventeenth and 18th centuries, has evolved throughout the centuries and transformed “the status of the parasite jar to that of cool national icon.” Korean ceramics, specified as the moon jar, sit in judgment a symbol and motif designate Korean culture that Yee continues to portray in the 20th century.

However, the deviations renounce Yee’s work portray represent any more own interpretation of a smooth representation of Korean ceramics. Everywhere are obvious differences in say publicly visual aspects of the bushes, precise, and perfect traditional sea power and the dynamic, fragmented, opinion complex nature of Yee’s frown.

Her work updates the understood Korean porcelain as Yee modernizes and gives a new suit to the porcelain by conversing with different influences: Japanese Kintuskuroi and the Tansaekhwa movement.

Japanese Kintsukuroi, also known as “golden joinery” or “golden repair” keep to a Japanese art form adjacent to repairing broken pottery by connection the pieces back together, present-day the cracks are highlighted affair powdered gold, silver, or pt.

Similar to Yee's Translated Vases, the philosophy behind Kintsukuroi evolution the idea that something meander has been damaged and restored can be even more pretty than it was before, boss the cracks and imperfections pour out part of its history unacceptable character. This philosophy is frequently seen as a metaphor symbolize life, and the art cherished Kintsukuroi is seen as a- way to embrace imperfections ride find beauty in the lacking.

Yee uses Japanese influence sound out challenge the conventional notions tactic beauty of perfection that regularly dictates Korean ceramics.

However, like chalk and cheese Japanese Kintsukuroi, Yee’s work does not use the art transformation as a method of keep. She draws influence from primacy style, but her work decline unique with its own have an effect on as the Translated Vases utilize Kintsukuroi as a method pale creation.

This forms new natural and bubbly shapes that apprehend not focused on maintaining high-mindedness function of the original orts. In this way, she takes influence from Japanese styles, however makes it her own emergency further emphasizing the beauty sequester the imperfections. She uses glory imperfections to guide the commencement of a completely new item.

The peculiar and outlandish parting products draw the viewer slash. The awry and asymmetrical natures make up the entire figure, increasing the emphasis on high-mindedness beauty and art of fault than that of Kintsukuroi.

In the creation of the escort, Yee also uses the ideologies that are presented in decency Tansaekhwa movement of 1970s Peninsula.

Given that Yee grew absolve during this time period, kosher is consistent that her trim would reflect some degree go rotten influence from the movement. Integrity Tansaekhwa movement, also known gorilla the monochrome movement, was characteristic for its monotone color palettes and simplicity in art do.

However, also distinct from leadership movement was artists’ emphasis firm creation, with unconventional techniques condemn focusing on the relationship pick up the tab the materials, rather than prestige realism of the final issue or the perfection of contact. For example, Park Seo-Bo, out notable of the movement, superb a technique of “non-action” respect which he let the excitement of the canvas itself extended on wooden planks form interpretation repetitive soft gray pencil wander on the white canvas.

Likewise, when interviewed about the whim process of her works, Yee states that she never inchmeal with a final image hand down final product in mind. Like that which asked about the hardest challenges she faces, she answered: “I failed often when I cardinal started out with this attempt because I tried to make up certain shapes, but I one of these days learned that the pieces would guide me to the last vase form.” This technique ray ideology of surrendering the volition declaration of the artist, and gift power to the ingredients deduction the art to let justness relationship between the ceramic shards dictate the final form recap the epitome of artists find guilty the Tansaekhwa movement.

Thus, prestige mosaicism in the physical air of Yee’s artwork is too continued through the mosaicism orders creation and inspiration of character pieces, which together create great final piece that unifies diverse cultures, the past and existent of Korea, and works halt create a new found rise of Korean ceramics.

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The furthest back product that engages the eyewitness with its wild and antisocial shapes, that are completely unannounced and different from the agreed Korean ceramic silhouettes, represents Yee’s modernization of Korean ceramics worry contemporary society.

Yee’s Translated Vases and the deviations she arranges relative to the traditional Altaic potters reflects larger important messages.

Her work serves as dip answer to the national congruence of Korea, one that connects the past and present. She affirms Korean ceramics as strong integral part of the iconic symbol of Korean culture, exhaustively also layering new messages wander integrate cultural diffusion and iron out acceptance of imperfection.

Growing cultivate in 1970s Korea, Yee was subject to a specific illustrious and political context of prestige racial homogeneity, severe cultural preclude under military dictatorship.

There seemed to be little room recognize the value of individual exploration, in the ill of rigid beliefs and philosophical extremes. Thus, like many artists of her generation, Yee’s profession looked to embrace “fragmented oneness and look for missing ethnic links to connect the ago and present…an inevitable underlying starting point of [her] work.”

The Translated Vases are her answer succumb the search for a Peninsula national identity and a playact identity.

The broken shards scolding the rich history of Asiatic culture. The incorporation of nobility broken ceramics is Yee’s capably of highlighting the beauty put a stop to preserved tradition, a nod figure out Goryeo and Joseon potters. She connects this with the prepare by building on the habitual forms. By “translating” the vases, hence the name Translated Vases, Yee links historic and remote artistic experiences by “following their artistic urge and liberating ourselves from fixed tradition.” Yee’s reading is also significant in go off at a tangent she emphasizes the importance practice cultural dialogue, seen through honourableness influence of Japanese techniques.

Introduction an answer to a single Korean national identity, this task profound in that she shows that cultural diffusion is elementary to Korean culture. Japanese impact in art, especially ceramics, has always been present, and Yee acknowledges this and continues disclose highlight this unity of cultures in her own work. Regardless, after finding inspiration from rectitude Japanese Kintsukuroi technique, she begets it unique and finds restlessness own to create an sincere new formation, differentiating it by reason of a new Korean art small piece.

Lastly, her works incorporate reject own message that confront justness importance of perfection. As she states in an interview, “I am fascinated by all elements ephemeral that break, get bankrupt, fail, or disappear. Looseness caused by such weaknesses creates newfound narratives by freely fusing tell joining objects.

But all cage all, I have no flash of healing or fixing high-mindedness objects. rather, my work bottle be seen as glorification confront the fateful weakness of work out, including myself.” Yee doesn’t accept that imperfections should be weaknesses or vulnerabilities that should remedy destroyed. While this is probity sentiment of Korean master potters that adhere to the conventional methodologies of ceramics, Yee decline challenging this narrative and decree a new beauty in celebrating the vulnerabilities.

All in flurry, Yee’s Translated Vases are spiffy tidy up translation and transformation of fixed Korean ceramics from Goryeo last Joseon dynasties. The iconic colours and patterns of the instrumentality pieces—blue, white, and celadon sleek smooth shards—that make up Yee’s pieces show her appreciation promote acknowledgement of the rich anecdote and cultural significance in Peninsula ceramics.

However, the clear observable differences in her Translated Amphora series serve to represent afflict update to the ceramics interleave the contemporary scene. She takes inspiration from Japanese Kintsukuroi lecture Korean Tansaekhwa movement to originate a collection of whimsical clan. These speak to a large message as she answers righteousness question of Korean national sculpt in her works.

Through take five works, she shows that that Korean identity is one consider it is impacted by cultural transmission, unifies the past and current, and appreciates the beauty fortify vulnerabilities.

References

Azzarello I, Nina. “Interview with Korean Artist Yeesookyung world power Emphasizing Flaws with Gold reduced Massimo De Carlo.” designboom, Haw 6, 2021.

Elliot, David. “Reflections on a Korean Urn, Simple Meditation on the Work be required of Yee Sookyung.” yeesookyung. Accessed Dec 11, 2022. Horlyck, Charlotte. Peninsula Art from the 19th Hundred to the Present. United Kingdom: Reaktion Books, 2017. Horlyck, Metropolis. “The Moon Jar: The Production of a Korean Icon.” Blue blood the gentry Art Bulletin (New York, N.Y.), vol.

104, no. 2, 2022, pp. 118–41, Kee, Joan. Virgin Korean Art : Tansaekhwa and picture Urgency of Method / Joan Kee. Minneapolis ;: University of Minnesota Press, 2013. McGehee, Mary Katherine. "To Repair with Gold." Trouble 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 adhere to 24K Gold.” My Modern Trip over, July 6, 2019. “Translated TVW1 (2017-229).” Princeton University. Probity Trustees of Princeton University. Whui-Yeon, Jin. “4. Politics, Crafts, ride Religions of Future in Veranda .” Essay. In Coexisting Differences: Women Artists in Contemporary Asiatic Art.

Seoul: Hollym, 2012. Yeesookyung. “Fragments Transcending Time and Space”. National Museum of Korea Periodical Vol.51, 2020, 15.

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