Korean Glass 24
Artist
Title
Korean Glass 24
EDITION
Unique
dimensions
H 25.5 cm W 23 cm D 23 cm
Material
Glass and porcelain
price
£ 3125
about
2015 Glass Biennale
The National Glass Centre’s Emerging Artist Residency Prize
Keeryong is a South Korean artist based in Scotland. His work is informed by his investigations in to the similarities and cultural differences that we all experience in relation to the objects around us in contrast to where we live. Something he is has personally experienced living in another country.
In this collection, Keeryong has developed a process using the ancient Korean ‘Saggam’ pottery technique, which allows him to explore a state of ambiguity created for the viewer’s visual experience. Using delineating geometric patterns and counterfeit letters (meaningless Korean words) he combines his glass with found English teapots. Often discarded in charity shops and flea markets these are given a new lease of life when juxtaposed with the former material.
Tea is historically and culturally very rich for both the East and West and English manufactured porcelain teapots, once of huge popularity, are used as markers for this shared cultural stereotype. Keeryong’s final art works are uncanny and mysterious, combining the familiar with the ambiguous.
In his own words;
“I am hoping my work (stereotypical view on Oriental image and typology of the shape) can provoke some awareness of many issues that are constructed around cross-cultural experiences”
The National Glass Centre’s Emerging Artist Residency Prize
Keeryong is a South Korean artist based in Scotland. His work is informed by his investigations in to the similarities and cultural differences that we all experience in relation to the objects around us in contrast to where we live. Something he is has personally experienced living in another country.
In this collection, Keeryong has developed a process using the ancient Korean ‘Saggam’ pottery technique, which allows him to explore a state of ambiguity created for the viewer’s visual experience. Using delineating geometric patterns and counterfeit letters (meaningless Korean words) he combines his glass with found English teapots. Often discarded in charity shops and flea markets these are given a new lease of life when juxtaposed with the former material.
Tea is historically and culturally very rich for both the East and West and English manufactured porcelain teapots, once of huge popularity, are used as markers for this shared cultural stereotype. Keeryong’s final art works are uncanny and mysterious, combining the familiar with the ambiguous.
In his own words;
“I am hoping my work (stereotypical view on Oriental image and typology of the shape) can provoke some awareness of many issues that are constructed around cross-cultural experiences”
