Fresh Air from Korea. Twelve Korean Jewelry Artists, Curated by Kiwon Wang

Artist list

Yoon Ahn • Seo Youn Chio • A Young Chung • Sun Hong • Boyoung Kim • Jooyeon Kim • Dallae Kong • Hongsock Lee • Joo-hyun Lee • Hyae-Rim Shin • Heesung Koh • Seohee Koh

If Korean culture is to be analyzed, it becomes evident that certain aesthetic elements which are fundamentally spiritual and simplistic have been maintained throughout the nation’s rise to its currently developed state. At the same time early Koreans were developing an agricultural society centering around the cultivation of rice, they produced iron tools and weapons, while laying the groundwork for their political and economic structure – while still maintaining their philosophical ideals. A proper understanding of the intrinsic characteristics of Korean culture and perspective –both past and present -is essential, as its influence is still in evidence - in the creation of art and in day-to-day living. To this day, Koreans prefer the white colored outfits whose origins are tied to an agricultural society where the harmony between man and nature is avidly pursued. The mild temperatures and gentle landscapes provide ample opportunity for Koreans to incorporate nature into their everyday lives. In such an environment, many Korean artisans create their work in such a manner that they are conduits for nature - and their creations are the expression of nature itself guiding the artist’s hands. This requires the artist to put aside ego and artifice and to seek out a union between the power within, as well as that around them.

Korean metalsmithing techniques began developing in the 3rd century B.C. and reached their height during the Shila dynasty (57 B.C.). While the main materials were gold, silver, copper and iron, they developed alloying techniques which entailed the mixing of different metals like tin, iron, and nickel - they also used complex inlay techniques as well as intricate engravings in their more ornate creations. One of the most opulent examples of goldsmithing was the King’s Crown. Consisting of both an outer and inner crown- the latter being intricately detailed, pierced and drilled as well as riveted in four sections, the craftsmanship was flawless. The outer crown is treated with a special smithing technique which allows the fragile sheets of decorative gold ornamentation to stand upright. The crown’s surface is then finished with a delicate, yet complex, granulation technique. All these metalsmithing techniques show a superb craftsmanship unique to Korea. Most of these techniques are so advanced they could not be completely understood until now.

Another superb metal crafting technique is illustrated in Korean sword making. The technique is imported from Japan, but by using Korean inlay techniques, stylizing the object with gold or silver characters engraved into the blade, (most being the names of Korean sword makers, proverbs or poetry) it takes on a distinctly Korean identity.
When discussing the character of Korean jewelry today, it seems impossible to consider it independent from its heritage. As Korean and western ties become stronger, the question of what westerners expect from Korean jewelry looms. What developmental path can be anticipated? The jewelers in this exhibition show neither a conservative devotion to tradition nor a fixed imitation of the west. Yet there is, on their part, a sense of equating modern with western, which could result in the downplaying and diminishing of what is uniquely Korean. Paradoxically, as Korean jewelry students study in the west, or study under teachers who’ve studied in the west - becoming more familiar with western work, they seem to develop a newfound interest in their own nation’s cultural systems. These artists then attempt to make traditional methodologies speak to the present. They have held onto what is their own, while their work reflects the reality of a multicultural exchange. This is seen as a natural phenomenon by Korean artists today. Since social and political realities have become as much an influence as economics, as Korea becomes an international power, an added dynamic has now entered the creative arena- and it will be interesting to see how this affects the creative process.

My goal from this exhibition is to show contemporary jewelers in the west, that there is a certain balance between execution of contemporary ideas and maintaining a connection to tradition – and this can be done while promoting progressive thinking – and the benefits of such will result in new levels of creativity surfacing, as each jeweler investigates both the past and present.

I believe that the work displayed in “Fresh Air form Korea” will offer a very intimate look at the quality of work -both conceptually and technically- and that will greatly benefit Korean jewelers involved in the world of creative jewelry design. As artists, we often struggle alone to find unique and individual solutions to design problems- as a group we can uncover these solutions in a much more timely and productive manner.

One thing is clear - the relationship between Korean jewelry and western audiences will grow. The jewelry and metalwork profession in Korea is large and prospering. As more exhibitions take place, internal and external evaluation will determine how Korean jewelry is defined and characterized as a profession. Hopefully, this exhibition will do a great deal to further that process.

Curatorial Statement by Kiwon Wang