Eunhee Cho

Bio

Eunhee Cho is a contemporary jewelry artist based in Seoul, South Korea. Her work is grounded in a deep exploration of traditional Korean craft techniques and materials, combined with innovative experimentation. She primarily works with Hanji, traditional Korean paper, and reinterprets the craft technique of Jiseung—twisting and weaving Hanji—through a contemporary lens, transforming it into poetic and sculptural forms. Growing up in a home filled with antique furniture, old books and paintings, and traditional Korean objects, she naturally absorbed the aesthetics and sensibilities of Korean heritage. These early experiences instilled in her a deep appreciation for the quiet dignity of objects shaped by time and dedication—an invisible thread that continues to inform her artistic sensibility. Rather than merely replicating tradition, Cho honors the wisdom embedded in it while reimagining it with a modern and personal touch. In her hands, Hanji is reborn as a material that is both soft and resilient, delicate and enduring, modest and splendid. Eunhee Cho has received several prestigious awards for her work using Hanji and Jiseung techniques. Most notably, in 2025 she received “Homo Faber Award”, a Partner Prize of the Cheongju International Craft Competition, presented by the Michelangelo Foundation, and her work has been presented in numerous international exhibitions, and she is actively engaged in her practice on the global stage.

Statement

I have long held a deep interest in traditional Korean crafts. Over the years, I have sought out masters of various disciplines—metalwork, Gyubang craft (traditional women’s needlework), Korean knots, natural dyeing, Wancho craft (woven sedge work), and Hanji (Korean traditional handmade paper)—to learn their techniques and reinterpret them through the language of contemporary jewelry.

In this journey of exploring materiality and tradition, I encountered Hanji and the technique of Jiseung. Hanji, made from the inner bark of the mulberry tree through centuries-old Korean methods, is breathable, strong, and highly durable. When finely twisted into cords and woven, it becomes remarkably sturdy—retaining its shape even when wet—yet remains astonishingly light. Thanks to these qualities, I was able to transcend the physical limitations of “weight” in jewelry, allowing me to explore larger scales and freer forms. Hanji granted me a profound sense of creative freedom. My jewelry is primarily crafted from Hanji using the traditional Korean technique of Jiseung. Jiseung refers to cords made by twisting long, narrow strips of Hanji, and Jiseung craft denotes the method of weaving or constructing forms from these cords. During the Joseon Dynasty, scholars often practiced this craft by repurposing the pages of finished books into elegant everyday objects. In an era when materials were precious, such paper crafts were cherished by the upper classes as refined symbols of taste and culture. Yet today, these beautiful works exist only as static relics in museums. I wanted to breathe life back into them—to restore their vitality and return them to everyday existence. From this desire, Jiseung Jewelry was born—a natural evolution that expands the expressive potential of Hanji and Jiseung beyond their traditional boundaries.

The lightness and flexibility of Hanji enabled me to take bold design risks and explore creative innovation unbound by convention. This impulse drew me deeper into the realm of contemporary art jewelry, where the artist’s concept and expressive values take precedence. My Jiseung jewelry carries a modern aesthetic, yet it is infused with elements of traditional Korean craftsmanship, revealing a distinctive sense of tension and character. I believe that this contrast adds both intrigue and a uniquely compelling charm to the work.
 
The process of creating Jiseung Jewelry begins by transforming paper into thread. I cut Hanji into long, slender strips and twist them by hand into single cords. Two single cords are then twisted together into a double cord, which I weave by hand, rhythmically interlacing them to form structure. Once the form is complete, I apply thin layers of glutinous rice paste two or three times for coating and finishing. From raw material to final touch, every element is natural. The repetitive motions of connecting, and weaving guide me into a meditative stillness—as if becoming one with nature. To me, this work is the process of realizing the nature within. Just as buds sprout from branches and flowers bloom effortlessly, my longing to witness something of my own naturally emerge from my fingertips continually draws me to create. When the woven Jiseung forms are finished with rice paste, they gradually shift toward So-saek (素色)—the hue closest to nature. Like all things in the natural world, this transformation unfolds quietly. Bathed in sunlight, permeated by air and time, the colors slowly deepen and the surface becomes more subdued. At first, the change is almost imperceptible. But over time, the tones grow richer and the texture more humble and grounded. Even after leaving my hands, the pieces continue to breathe and live, evolving as part of nature itself. Through my work, I hope that the nature within me resonates with the nature within others—gently whispering to awaken the quiet, living essence that lies dormant in their inner world.
 

CV