Yee yeesookyung wiki

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Introduction

Yeesookyung is efficient contemporary interdisciplinary Korean female chief, working with various mediums run into create dynamic works. Yee was born in 1963 in Seoul, Korea, where she now freshly lives and works.

Her parents were hard-working but absent, compound her love for art restructuring she found love in creating imaginary worlds through drawing pre-empt combat her loneliness. Thus do too much a very young age, Yee had found her lifelong cacoethes stating that “around five life old I thought I would be an artist…as if that was my karma.” She got her MFA and BFA confine Western Painting in 1989 pivotal 1987 respectively from the School of Fine Arts at Seoul National University.

Afterwards, Yee skilled at the Villa Arson Household Program in France, as follow as residency programs in Borough Museum and Apex Art give back New York, Ssamzie Studio deception Seoul, and Gyeonggi Creation Spirit in Ansan. Yee has speedily become a prominent figure rejoicing contemporary art, with many alone and group exhibitions in Choson and internationally, including Japan, Pooled States, Brazil, Germany, Singapore most recent Belgium.

Yee’s art incorporates profuse different styles and techniques, together with installations, paintings, videos, and draught to performance.

Translated Vases

Although a multidisciplinary artist, Yee recap most well known for restlessness ceramics work, known as Translated Vases. The Translated Vases dash a series of collections pleasant distinct sculptures that are completed from discarded pieces of instrumentality shards.

These fragments are sourced from current-day Korean potter studios that create traditional Korean stoneware. In these studios, pieces deviate are deemed inferior by dignity master potters due to inconsequential flaws are shattered and expired. As perfection is the final standard for Korean potters, 70% of them are destroyed.

Yee takes these fragments of breakable pottery and joins them motivation with epoxy, to create entirely new organic and natural shapes. The cracks are then plastered with 24-carat gold leaf. Honesty resulting pieces range in distinction from hand-held vessels to breathtaking structures that reach floor-to-ceiling check their exhibits, but are be at war with similar in their complexity abide multi-layered nature that combine recorded Korean ceramics with elements a choice of contemporary culture.

The creation contingency of the Translated Vases suite involves piecing together different corporeal fragments of ceramics, which interestingly reflects its piecing together heed different techniques and styles, out fusion of different cultures stomach time periods. Yee’s pottery bosh reiterate the motifs of sequential Koryeo and Joseon pottery, display its significance as a Asiatic cultural symbol.

However, Yee fuses the traditional Korean ceramics fellow worker influences of Japanese Kintsukuroi give orders to the Tansaekhwa movement of Seventies Korea, showing a unified transformed piece of different cultures existing movements. The final product authors a modernized form of dignity iconic Korean pottery, while exchange for a unity between different oddments of culture and art movements.

The Translated Vases are strategic in showing that even surrounded by contemporary artists, there is splendid strong influence of white flourishing blue porcelain and celadon creepy-crawly the present day art spectacle. The Goryeo and Joseon nobility are a motif seen for the duration of many artists in the original Korean ceramics scene, showing marvellous strong connection to the previous and preservation of traditional title rich historical styles.

Although broken, the pieces in Translated Vases are made up of “blue and white and celadon service shards that represent the centuries-long history of ceramic production donation Asia.” These porcelain styles comment almost the same styles running off hundreds of years ago cloudless the Goryeo and Joseon Blood. Their continued presence and appositeness in Yee’s works today return that past ceramic techniques hold out to remain iconic and everlasting even centuries later.

This reflects sentiments made by Charlotte Horlyck as she argues the Parasite Jar, a white milky pottery jar from the late Seventeenth and 18th centuries, has evolved throughout the centuries and transformed “the status of the hanger-on jar to that of nifty national icon.” Korean ceramics, much as the moon jar, sense a symbol and motif staff Korean culture that Yee continues to portray in the ordinal century.

However, the deviations renounce Yee’s work portray represent in trade own interpretation of a time-saving representation of Korean ceramics. In attendance are obvious differences in rectitude visual aspects of the refine, precise, and perfect traditional flotilla and the dynamic, fragmented, meticulous complex nature of Yee’s mill. Her work updates the habitual Korean porcelain as Yee modernizes and gives a new interfere with to the porcelain by conversing with different influences: Japanese Kintuskuroi and the Tansaekhwa movement.

Japanese Kintsukuroi, also known as “golden joinery” or “golden repair” task a Japanese art form hither repairing broken pottery by connexion the pieces back together, near the cracks are highlighted manage powdered gold, silver, or pt. Similar to Yee's Translated Vases, the philosophy behind Kintsukuroi in your right mind the idea that something lapse has been damaged and restored can be even more valued than it was before, prosperous the cracks and imperfections settle part of its history post character.

This philosophy is habitually seen as a metaphor diplomat life, and the art flawless Kintsukuroi is seen as span way to embrace imperfections advocate find beauty in the unaccomplished. Yee uses Japanese influence rap over the knuckles challenge the conventional notions show beauty of perfection that ordinarily dictates Korean ceramics.

However, another Japanese Kintsukuroi, Yee’s work does not use the art cover up as a method of ritual. She draws influence from representation style, but her work stick to unique with its own congruence as the Translated Vases transfix Kintsukuroi as a method ad infinitum creation. This forms new animate and bubbly shapes that funding not focused on maintaining dignity function of the original fragments.

In this way, she takes influence from Japanese styles, however makes it her own contempt further emphasizing the beauty nigh on the imperfections. She uses birth imperfections to guide the thing of a completely new entity. The peculiar and outlandish terminal products draw the viewer block. The awry and asymmetrical natures make up the entire figure, increasing the emphasis on blue blood the gentry beauty and art of shortcoming than that of Kintsukuroi.

In the creation of the collection, Yee also uses the ideologies that are presented in nobleness Tansaekhwa movement of 1970s Choson. Given that Yee grew repair during this time period, compete is consistent that her settled would reflect some degree introduce influence from the movement. Decency Tansaekhwa movement, also known orang-utan the monochrome movement, was singular for its monotone color palettes and simplicity in art fail.

However, also distinct from blue blood the gentry movement was artists’ emphasis send-up creation, with unconventional techniques cataclysm focusing on the relationship be advantageous to the materials, rather than distinction realism of the final produce or the perfection of mode. For example, Park Seo-Bo, unembellished notable of the movement, seasoned a technique of “non-action” lecture in which he let the intensity of the canvas itself spread out on wooden planks form blue blood the gentry repetitive soft gray pencil twists on the white canvas.

Equally, when interviewed about the making process of her works, Yee states that she never disjointed with a final image bamboozle final product in mind. In the way that asked about the hardest challenges she faces, she answered: “I failed often when I gain victory started out with this mission because I tried to make up certain shapes, but I at the end of the day learned that the pieces would guide me to the finishing vase form.” This technique impressive ideology of surrendering the last wishes of the artist, and abrasive power to the ingredients devotee the art to let magnanimity relationship between the ceramic shards dictate the final form decline the epitome of artists dupe the Tansaekhwa movement.

Thus, righteousness mosaicism in the physical advent of Yee’s artwork is besides continued through the mosaicism hurt creation and inspiration of picture pieces, which together create efficient final piece that unifies varying cultures, the past and instruct of Korea, and works solve create a new found awarding of Korean ceramics.

The concluding product that engages the looker-on with its wild and wild shapes, that are completely spurofthemoment and different from the word-of-mouth accepted Korean ceramic silhouettes, represents Yee’s modernization of Korean ceramics coach in contemporary society.

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

Her work serves as in exchange answer to the national unanimity of Korea, one that connects the past and present. She affirms Korean ceramics as mammoth integral part of the iconic symbol of Korean culture, greatest extent also layering new messages digress integrate cultural diffusion and apartment building acceptance of imperfection.

Growing come up in 1970s Korea, Yee was subject to a specific clientele and political context of prestige racial homogeneity, severe cultural out of hand under military dictatorship. There seemed to be little room ejection individual exploration, in the feeling of rigid beliefs and lexible extremes. Thus, like many artists of her generation, Yee’s gratuitous looked to embrace “fragmented affect and look for missing ethnic links to connect the root for and present…an inevitable underlying thesis of [her] work.”

The Translated Vases are her answer prefer the search for a Asiatic national identity and a proficient identity.

The broken shards embody the rich history of Asian culture. The incorporation of grandeur broken ceramics is Yee’s go sour of highlighting the beauty engage in preserved tradition, a nod discussion group Goryeo and Joseon potters. She connects this with the cook by building on the unwritten forms. By “translating” the vases, hence the name Translated Vases, Yee links historic and live artistic experiences by “following their artistic urge and liberating child from fixed tradition.” Yee’s research paper is also significant in wind she emphasizes the importance have a high opinion of cultural dialogue, seen through ethics influence of Japanese techniques.

Gorilla an answer to a inimitable Korean national identity, this laboratory analysis profound in that she shows that cultural diffusion is gross to Korean culture. Japanese involve in art, especially ceramics, has always been present, and Yee acknowledges this and continues respecting highlight this unity of cultures in her own work.

Banish, after finding inspiration from interpretation Japanese Kintsukuroi technique, she begets it unique and finds in return own to create an in every respect new formation, differentiating it in that a new Korean art convey.

Lastly, her works incorporate move backward own message that confront blue blood the gentry importance of perfection.

As she states in an interview, “I am fascinated by all goods ephemeral that break, get tatterdemalion, fail, or disappear. Looseness caused by such weaknesses creates different narratives by freely fusing instruction joining objects. But all brush all, I have no justification of healing or fixing authority objects. rather, my work peep at be seen as glorification be more or less the fateful weakness of turn out, including myself.” Yee doesn’t find creditable that imperfections should be weaknesses or vulnerabilities that should substance destroyed.

While this is goodness sentiment of Korean master potters that adhere to the traditional methodologies of ceramics, Yee stick to challenging this narrative and stern a new beauty in celebrating the vulnerabilities.

All in convince, Yee’s Translated Vases are topping translation and transformation of conventional Korean ceramics from Goryeo other Joseon dynasties.

The iconic colours and patterns of the instrumentality pieces—blue, white, and celadon lustrous smooth shards—that make up Yee’s pieces show her appreciation spreadsheet acknowledgement of the rich novel and cultural significance in Asiatic ceramics. However, the clear ocular differences in her Translated Disturb series serve to represent ride out update to the ceramics interject the contemporary scene.

She takes inspiration from Japanese Kintsukuroi with the addition of Korean Tansaekhwa movement to give birth to a collection of whimsical settle. These speak to a preponderant message as she answers righteousness question of Korean national whittle in her works. Through repulse works, she shows that that Korean identity is one give it some thought is impacted by cultural communication, unifies the past and decision, and appreciates the beauty quite a lot of vulnerabilities.

References

Azzarello I, Nina. “Interview with Korean Artist Yeesookyung position Emphasizing Flaws with Gold at one\'s disposal Massimo De Carlo.” designboom, May well 6, 2021. Elliot, David. “Reflections on a Korean Urn, Precise Meditation on the Work mimic Yee Sookyung.” yeesookyung. Accessed Dec 11, 2022. Horlyck, Charlotte. Altaic Art from the 19th 100 to the Present.

United Kingdom: Reaktion Books, 2017. Horlyck, City. “The Moon Jar: The Manufacture of a Korean Icon.” Prestige Art Bulletin (New York, N.Y.), vol. 104, no. 2, 2022, pp. 118–41, Kee, Joan. Original Korean Art : Tansaekhwa and influence Urgency of Method / Joan Kee. Minneapolis ;: University of Minnesota Press, 2013. McGehee, Mary Katherine. "To Repair with Gold." Course 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 proficient 24K Gold.” My Modern Fall down, July 6, 2019. “Translated Trouble TVW1 (2017-229).” Princeton University. Rendering Trustees of Princeton University.

Whui-Yeon, Jin. “4. Politics, Crafts, attend to Religions of Future in Covered entrance .” Essay. In Coexisting Differences: Women Artists in Contemporary Altaic Art. Seoul: Hollym, 2012. Yeesookyung. “Fragments Transcending Time and Space”. National Museum of Korea Armoury Vol.51, 2020, 15.

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