Yonghak Jo

Bio

Yonghak Jo is a contemporary jewelry artist based in Halle (Saale), Germany. He studied Gemological Engineering(B.S 2010) at Dongshin University in Naju, South Korea, and Jewellery Class at Burg Giebichenstein University of Art and Design Halle(Germany), where he earned his Diploma(2021) and later completed his Meisterschüler (2024) under Prof. Hans Stofer.
His work explores jewelry as a medium for preserving personal and collective memories, drawing inspiration from historical narratives and the Counter-monument Movement.
A key focus of his practice is the revival of Zoum-Ipsa, a nearly lost Korean silverwire inlay technique, which he integrates into his pieces to symbolize memory, separation, and reunion. And he continues to explore the intersection of craft, history, memory and identity in his artistic practice.
He has participated in numerous group exhibitions and was awarded Winner of the 10th Klimt 02 New Talent Award (2025). In March 2025, he will present his first solo exhibition at Hannah Gallery.

Statement

Throughout human history, monuments have reminded societies of their shared stories and heritage. The Counter-monument Movement, which emerged in Germany in the late 20th century, emphasizes flexibility and participation in memory culture through open spaces for continuous interpretation.

Jewelry, historically small and portable, serves as personal monuments to memories. In my diploma project, I explored contemporary jewelry as a medium for sharing collective memories. Afterward, I shifted focus to personal narratives, highlighting how diverse memories shape culture.

 My work features the traditional Korean craft technique „Zoum-Ipsa,“ nearly lost during the Pacific and Korean Wars. It also tells my family‘s story of separation and eventual reunion across three wars (Pacific War, Korean War, and Cold War).

 The motifs of the sea and ships symbolize separation and reunion in my work. The movement of lines represents the sea‘s motion, human relationships, and the bond between humans and objects.

 My jewelry connects the past and present, restoring lost memories and relationships. I aim for contemporary jewelry to hold both personal and collective memories, passing them to future generations with messages of hope and healing.

Amid global conflicts, I believe remembering violence is a way to resist it, and I hope my work contributes to this effort.
 
 
About “Zoum-Ipsa” (Korean traditional silver wire Inlay Technique)
This technique involves chiseling fine grooves into the surface of iron plates and inlaying hair-thin silver threads into intricate patterns.

The chiseling process should always be done in four directions, overlapping each other, so that the silver wire and iron sheet are mechanically joined well. No solder is used in this process. And each silver wire is polished to a brilliant shine after various surface treatments to repel moisture. Traditionally, this technique was used to elaborately decorate ironware for the upper class, but over time it spread to the general population.

Koreans used it to make items such as tobacco leaf boxes, writing utensil boxes, ritual incense burners, weapons, saddles and more, making various designs to symbolize happiness, prosperity and health and giving these decorated items as gifts. I am trying to develop this traditional craft using modern materials and methods.

Short making process Video (ca. 90 Seconds).
 

CV