Chunghi Choo and Her Students. Contemporary Art and New Forms in Metal

Chunghi Choo (b. 1938 in Incheon, Korea) first studied painting, calligraphy, and design at Ewha Woman's University in Seoul (KR). In 1961 she left Korea to pursue graduate studies in craft at the prestigious Cranbrook Academy of Art in Bloomfield Hills, Michigan (US). There she earned a master’s degree in metalsmithing under Richard Thomas—who was primarily known for his silver vessels— alongside her studies in ceramics under Maija Grotell and weaving under Glen Kaufman.

In the 1960s and 70s Choo’s large-scale, colourful silk fabric hangings caught the attention of New York art museum curators. Beginning in the 1960s through today, her sculptural and metal vessels have been collected and featured in exhibitions around the world. In order to make flowing, organic forms in silver hollowware, Choo developed new electroforming techniques. She also utilized copper sheeting and spun aluminium to create dynamic forms—at times of considerable size—and applied vibrant color.

Choo also created a series of translucent metal mesh baskets using her “silent metal forming” technique. Her sensibility for harmony and well-balanced compositions was acquired through her devotion to listening to classical music, among other things. According to the artist herself, not one of her pieces has been created without it.

Prolific in the fields of fiber, tableware, and sculpture, Choo tirelessly explored new materials, techniques, and ideas (which earned her the status of Elected Fellow of the American Craft Council). She was also an influential and passionate teacher. From 1968 to 2014 she taught at the University of Iowa, School of Art and Art History, establishing the Metalsmithing Department there and bringing it worldwide recognition.

Even though Choo herself predominantly worked as a metalsmith, one of the most important messages to her students was that art can be created from almost any material and with any technique. The range of artwork and level of excellence achieved by many of Choo’s former students is noteworthy. The juxtaposition of their work, with that of their teacher, showcases Choo’s exceptional approach to teaching. Choo’s lasting influence on subsequent generations of artists reveals the multidimensionality of her art practice and the importance of artistic mentorship.