Perspectives from Gallerists. Interview with Jeannie Lee from Siat Gallery

Launched in 2019, Siat Gallery first took root in Paris before finding its home in Seoul. It is a distinguished space dedicated to showcasing exceptional contemporary craft, with a special focus on art jewelry by leading Korean artists.

Derived from the Korean word “seed”, the gallery embodies the idea that every creation begins as a spark of inspiration—ready to grow and bloom into a remarkable work of art.
In this interview, founder and director Jeannie Lee recounts her journey from studying Jewelry and Metals at Rhode Island School of Design to building a gallery that connects Korean craftsmanship with the international art scene. Drawing on her experience in Parisian art institutions, she shares insights on how tradition and innovation shape Korea’s creative identity, and how Siat Gallery continues to cultivate this dialogue on a global stage.


Could you share with us your background and what motivated you to found Siat Gallery?
I studied Jewelry and Metals at the Rhode Island School of Design (RISD) and later moved to Paris to study Art, Culture, and Luxury Management, which allowed me to broaden my understanding of the art world and gallery operations. During that time, I also earned gemologist certifications from both the Federation of European Education in Gemmology (FEEG) and the French national program.

After gaining experience working in fine art galleries, I realized that opening a gallery would allow me to bring together my knowledge and passion for both jewelry and art. While I was in Paris, I wanted to introduce Korean artists and Korean art, which were not as widely recognized internationally at the time.
However, when the pandemic began, I returned to Korea and eventually restarted the gallery here. Although I hadn’t initially planned for the gallery to focus specifically on craft, my background in jewelry naturally led me to highlight the field I know and love most.


Gentle Resonance's exhibition display at Siat Gallery in June 2025. 


Your artistic direction focuses on representing Korean artists. For someone unfamiliar with the scene but curious to learn, what defines the Korean art scene, and what makes it so special that you chose to dedicate your selection to it?
The Korean art scene is defined by a deep sense of material sensitivity and craftsmanship rooted in our cultural traditions, yet interpreted with a distinctly contemporary voice. Many Korean artists are deeply influenced by ideas of nature, time, and patience.

What fascinates me most is how Korean artists balance tradition and innovation. They often use humble or everyday materials—paper, fabric, metal, lacquer, or even recycled objects—and elevate them through process and design.

My decision to represent Korean artists comes from both pride and conviction. Having lived abroad, I realized that Korea’s cultural identity wasn’t fully recognized for its depth and diversity, especially in craft and contemporary jewelry. Through Siat Gallery, I wanted to create a bridge—introducing this quiet yet powerful sensibility to an international audience, while also giving Korean artists a global platform.


We’re seeing an increasing number of Korean artists in European exhibitions and events. Do you think there’s a particular reason for this? Do you believe it’s becoming overrated?
Partially, I think it’s a natural result of the global influence of K-culture as a whole. As Korean music, film, and beauty began to capture international attention, the visual arts followed suit. People are becoming more curious about the ideas, aesthetics, and craftsmanship behind Korean art.

Also, after the pandemic, many artists also found new ways to promote their work internationally—through digital exhibitions, online residencies, and international art prizes. These opportunities helped Korean artists gain visibility and recognition across borders.

I don’t think it’s overrated at all—it’s only the beginning. What’s happening now is that the world is finally discovering the depth and diversity that have always been part of Korean art.


Siat Gallery at Collect 2025.

What are your thoughts on the traditional street-front gallery model? Why did you decide to adopt a showroom format instead? Can you explain this model and its advantages?
People often ask why I don’t operate a traditional street-front gallery, and while many see it as the more effective model, the showroom format was a deliberate choice shaped by both practical and personal reasons.

When I first started Siat Gallery, it existed as a series of pop-up exhibitions — each in a new location with a new theme. It was a cost-effective way to begin freely, without heavy investment at a young age. Later, I was fortunate to find our current space. Though it’s on an upper floor rather than street level, I see this privacy as a strength.

Because I often travel abroad for exhibitions, this setup offers flexibility and balance. The space itself feels refreshingly different — almost as if you’ve stepped into another country. Visitors are often surprised by the view, the openness, and the high ceilings, which make the experience of seeing jewelry and craft feel fresh and elevated. After all, everything looks more inspiring in a beautiful space.


Siat Gallery main space.


As a physical and active gallery participating in international art fairs (such as Frame in Munich or Collect since 2023) and Jewelry Weeks like NYJWeek since 2022, how do you view the role of these events in your work and network?
Participating in international art fairs and jewelry events has always been a challenge for me, but also an invaluable experience. Each encounter pushes me to grow faster and think more globally. Many Korean artists have long felt a hunger to be part of the international scene, so by taking part in these events, I feel I can help bridge that gap — giving their work a platform and connecting them to a broader network of collectors and galleries.

The contemporary jewelry and craft scene in Korea is still very small. There are many talented artists, but few collectors who truly understand or support this field. That’s why I see it as part of my mission to introduce Korean artists abroad and create more opportunities for them to be seen and appreciated. These experiences not only expand our audience but also reaffirm the importance of cultural exchange in contemporary craft.


Siat Gallery at Craft Trend Fair in Seoul.


Siat Gallery at Collect 2025.


Based on your experience, what key elements do you believe are essential to strengthen the visibility and reach of contemporary jewelry?
Even for me, as someone who studied and works in contemporary jewelry, it remains a challenging field—especially when it comes to helping the public understand and connect with it. Many people are still hesitant to express themselves through what they wear; they don’t want to stand out. And in a world dominated by the luxury jewelry market, it’s not always easy for contemporary jewelry to find its place.

That’s why visibility, to me, is about more than just showing the work—it’s about shifting perception. We need to communicate that these are not simply accessories, but wearable sculptures, artworks that carry thought and emotion.
Alongside this, we need to encourage people not to be afraid to express themselves—to see jewelry as a form of individuality and courage.
In that sense, visibility grows not only through exhibitions or fairs, but through inspiring people to see jewelry as something living, expressive, and deeply personal.


Has your online presence (Artsy, Instagram, Klimt02) helped increase Siat Gallery’s international visibility? Is it a special clientele that shops online? Do you believe digitalization has become essential in today’s jewelry market?
I would say that most of our visibility still comes from physical presence—through fairs, exhibitions, and direct encounters—but our online platforms definitely help extend that visibility long after those events end. I often receive inquiries and even sales through the internet, so it certainly has value.
As for who buys online, it’s hard to say since I don’t always meet them in person, but the range is quite diverse.

I’m not sure I would call digitalization “essential” just yet, but it definitely creates a positive ripple effect. It allows the works and artists to be discovered by people who might never walk into a gallery in person.


What are the next highlights planned for Siat Gallery? Will we see you again in Munich 2026 or at other upcoming events?
I’m currently preparing an exhibition in Seoul this December titled Brooches Maketh Man, featuring thirteen artists. The show focuses on brooches designed for men. The inspiration actually came from my father — as I began introducing him to jewelry, he developed a fondness for brooches and boutonnieres, which made me want to create a show that celebrates stylish men like him.

In February, I’ll be returning to Collect in London. The timing usually overlaps with Munich, so I often have to choose between the two, but Collect allows me to present not only jewelry but also other forms of contemporary craft, offering a broader and more diverse showcase of Korean artists.


Siat Gallery at Collect 2025.