Dreamers Exhibition

2019 Cheongju Craft Biennale's main exhibition presents optimistic attitude toward idealism and naturalist aesthetics borrowed from AnGyeon's Mongyudowondo.

We also borrowed the epic structure of Mongyudowondo and Garam layout, an Eastern temple style that links five outdoor exhibition halls.

Feel the art of craftsmanship delivered by artists all over the world.

The artist is mostly known for her work with iron and wood, but recently she has been experimenting with installation pieces and objects using paper. Paper has an important meaning to Glajcar, for it absorbs light from the environment and gives off a spectrum of different colors. Her current project series, Terforation, is made of paper, and the name comes from the Latin words terra (earth) and foramen (hole). The name refers to the artist’s use of standard-sized paper to create basic geometric shapes. She takes these pieces of paper and layers them before tearing holes in them. These completed paper objects are then placed on the floor and hanged from the ceiling and walls.

The artist uses ceramic and reinterprets its historical use as the material for making knives. Here, Choi uses salt as a new material, representing wealth and power, religious faith, and life. This symbolism draws parallels with human nature and desire, and the artist chose to focus on physical characteristics. The sharp and horizontally oriented sword represents the male desire for power, which is then incorporated with the fineness of the salt. With a fine texture and pure white color, the salt scatters and grabs the attention of audiences.

The artist presents two different types of art in this piece: painting on canvas and painting on glass. The different materials on either side of this piece can be observed in their different reactions to light. When painting on canvas, the light falls upon the image and does not pass through the opaque material. However, when light hits the glass, the translucent or transparent material refracts the light in different ways.

Park Hyun-joo repeatedly uses simple forming elements, such as parallel lines and concentric circles, and uses multiple combinations and layouts of colors for vibration or visual illusion. The search for 'light' has continued through the act of causing it. The piece has a resemblance to optical art in terms of visual effects, but if you look carefully, you can feel that the world of work that the author has been pursuing is not limited to a particular art specification, but is leading your own world of work with differentiated forms and content.

Lee Kajin takes traditional Korean celadon and reinterprets its use as a material and the techniques used to incorporate it in art. Rather than utilizing it in the standard, traditional ways, Lee manipulates the way the piece appeals to the physical senses to communicate with audiences at the level of emotions and intuition. To do so, Lee uses a clay slate as his medium instead of canvas and glazes instead of ink. The result is a brand new form of art that breaks the standards of the genre and offers a brand new perspective and room for interpretation.

Images appearing in the writer's work include childhood memories, body parts and other related materials, from familiar objects around life. Images of plants, water droplets, frames and ceramics shaped by light create a mysterious and meditative atmosphere with the movements of visitors and the light emitted from holes of various sizes. Using an electric drill on a black acrylic plate or black paper, tens of thousands of holes are drilled vertically to create an image, and by penetrating light from the rear, it completes the work as if it were drawing with light. The combined path of light made from dots and holes makes the viewer feel as if it were in space.

The author projects the image using a beam projector on top of a white object in the form of a seal to match the image with the object. When you look into the water, a stranger passes by, or faces a visitor, and it creates a stir as if a stone had fallen off. Sometimes shadows appear, which reflect the real water as a mirror, but the underwater welcome of the work creates a situation that does not reflect reality. The images shown in the works are fake, but they appear to be real and reveal themselves to be fake. When the video is finished, only empty objects are left, which is a memory of the past as a progressive form.

This work is a modern reconstruction of the situation on the Korean Peninsula in the 21st century and each character and shape of the 12 disciples by Da Vinci, and the person who paints expresses the diversity and beauty of the culture of this period, and the person wearing the garb is now a metaphorical person who expresses the threat to the Korean Peninsula's nuclear weapons and the anxiety about war. Aluminium mirror man in Chinese style symbolizes the external pressure we are under, and the naked self, regardless of time, space and ideology, contains the meaning that we are essentially Korean. On the table, you can find tanks playing war games that lay golden eggs amid the pain of war, chicken symbolizing Peter, who denies Jesus, and kimchi, which symbolizes the fundamental homogeneity of the Korean people.

The new work, which will be presented by the author at the 2019 Cheongju Craft Biennale, is part of the Rami series that has been studied for the past 10 years. Noh Il-hoon has presented works that maximize the beauty of nature through his Ramie series, which understands and reinterpreted the structure that nature creates, especially the structural phenomena in which branches grow and stretch. The production of the work is carried out through thorough manual work with carbon fiber and aramid, and the artist can balance power and light through the process of braiding fiber into light-emitting lines using traditional Korean craftsmanship, jiseung crafts, and handcraft techniques conceived from straw crafts.

This piece is Cha Seungean’s Triple twill triptych. Cha breaks apart canvas using materials made of satin, twill, and plain fabrics Modern painting is noted for its lack of references, and Cha chooses to create his own experimental canvases as opposed to focusing on the traditional materials that were once so important. Through constant variations, the artist plays with lines that are constantly changing and have no outside, no inside, no shape, no background, no start, and no finish. These lines break free from cookie cutter frames and change to form into different dimensions. The strings that form the background become lines that pull audiences in, not only through its flat surface, but through movement, action, and setting the stage.

The works of the Space of Greeting and Replication series are both paper-cut works of paper. A folded-structure paper structure in which folding and unfolding are continuous, with various plant images forming an open form of light and air flowing through the perforated space.

This piece is Chung Yongsoon’s Cube-2727. The artist uses traditional Korean materials to create items that can be used as artistic objects. Chung combines pieces of different sizes and, rather than using traditional patchwork to connect them, uses a hexahedron-shaped unit to give the flat piece new dimensions. As a result, the piece also interacts differently with light, giving off shadows that become a part of the art work and give the traditional materials a more modern appearance.

The work is a collection of author and people on the road since 1990. We meet many people on the road. The author travels the world and enjoys meeting new people and finds it a great pleasure and happiness to meet good friends through these encounters on the road. The important material, pottery, can represent changes in nature over hundreds of years or thousands of years through the encounter of soil and fire.

This piece is Park Sungwon’s Big man, depicting a figure with a glass face and a body made of wood. This piece is an example of a new style that the artist began in 2013. Here, wood is no longer a less important than or simply a supporting material for glass; rather, it plays an equal role in expressing the artist’s message. While wood must be whittled down and is a solid material, glass must be melted and is a liquid material. Although this contrast exists between the two materials used in this piece, here they come together to create a single form. Park treats wood softly almost as if it were a liquid based material like glass and treats glass with such great detail as if it were being used to create a sculpture. This is a similar style used in the piece Glass + Wood, which represents the constant adding and subtracting of things that are needed and unneeded in life, respectively, to leave behind only what is necessary.

This piece is Ngozi Ezema’s Think tea, Think cup II. The artist is a famous installation artist from Africa. In 2009, she graduated with a Master’s degree from the renowned University of Nigeria Nsukka and is now active on both the local and global stages. Famous for her pottery and ceramic work, Ezema makes careful calculations when preparing and spinning her clay to create the shapes she envisions. Her projects not only include practical techniques, but also experimental ones, including pinching, tying, and wrapping. The versatility in her work is a representation of how she feels no limitations in her artistic expression. This can be seen in her unique objects, including clay rings, round clay fragments, and flip flops tied with string. Through her work, Ezema emphasizes her own experiences in a social and cultural context as expressed through an artistic approach.

While living with nature, the "Flying the Sky" series was created by using the natural tree-shaped and colorful shapes of branches as much as possible to create children's images using their legs, arms and heads. While producing only the figures, he came to think of a shepherd like a puppet from the Joseon Dynasty and transformed it into a modern style and began to paint. The writer's heart is that he wants visitors to experience the experience of wandering through space for a while in a strange optical illusion while watching various images of children reacting to the breeze.

This piece is Sim JaeCheon’s Colored Comb-Pattern Jug. This piece is a result of the artist’s extensive research on comb-patterns and their texture, incorporating concepts of yin-and-yang by using black and white to create a contrasting effect, along with the harmony of colored and uncolored beauty. The goal of this design was to evoke the feeling of power gradually surging from the jug and the bursting effect. The jug was baked in a kiln for 5-6 days without any glazes, leaving only the ashes of the kiln’s flame as stained spots on the piece’s natural form. Perhaps the reason for the greater-than-expected appeal of the jug is the unique effect of having completed it in the kiln. However, one must keep in mind the level of control needed for an artist to wait 5-6 days while quelling the immense levels of excitement and curiosity until the piece is completed.

This piece is Li Xiaofeng’s Phoenix No. 1. Li is known as one of the most ingenious artists in China, with ceramic fragments originating from ancient China as the artist’s preferred medium over the more commonly used rock and wood materials. Li molds the ceramic pieces into the desired shape, then creates a small hole to insert a steel wire tied with leather to create a piece that can be worn. These pieces resemble traditional jewelry designs, transforming the ceramic pieces from their original function to give them a new one. These pieces, once completed, encompass diversity in their expressions of space and time.

Seock Chang Won’s Abraxas incorporates the casted mask of Korean celebrity Hong Seok Cheon’s face. Hong is a well-known gay celebrity in Korea, and this piece is a representation of how people in modern society often hide their true inner selves behind a different mask. This piece shows Hong’s desires and the focus, pain, and neglect he feels when contemplating how to meet those desires. This is an interpretation of the emotions that individuals in modern society feel as they struggle to fit within the standards placed on them. The style here harkens back to images of Christ, with the main character here surrounding by other figures. Although this can be seen as some sort of traditional religious icon, it is not sending a message of holiness or faith but, rather, capturing an image of pain, desire, and neglect as felt by individuals in today’s society.

The work uses bronze, brass, silver and iron as its main material, and can be divided into four sections: a main body, a lid and a handle that comes out of water. The body of the kettle was not rounded, and the bottom was hammered and curled up to form using a single-gold technique. In this case, 10 bodies of different shapes, such as round and square shapes, and 10 handles, are given a little variation to match each other. Also, attaching to a three-dimensional surface is easy to deform, which is why you have to pay attention to. The finish of the metal-bearing finish gives the audience a feeling of indifference that seems to have been attached roughly, as if intended, like a wound in life, which gives them a more chaste feeling. Handles and lid parts are made of brass, silver and wood, which are nonferrous metals, to place soft nonferrous iron and wood in the strength of iron to add a new look.

This piece is Kim Seol’s Red marked objects. Using traditional lacquer inlaid with mother of pearl, this piece combines a soft, resilient, and man-made shape with natural material to create a modern formative piece. Kim’s work is an example of using traditional methods to create something new, specifically a product that is simple yet solid, with bright, clear colors running throughout it. At first glance it might appear rather gaudy, but when one takes away the loud and extra details and gives it time, it grows increasingly bold and exudes unspeakable levels of energy. The semicircle shape symbolizes space, and the red lacquer represents vitality and the energy of space.

Han Jeong Yong's 'Property' To make objects using white porcelain with the character of meticulous construction. The nature of the soil used does not allow for loose form or unstable composition. First, focus the material on achieving high completion. Based on this attitude, we listen to the models of the Joseon white porcelain, which are of fundamental interest.
I want to put the right combination of materials, inspired sculptures and my sensibility in the work. This content is an important factor in making white porcelain.

"A Series of Women's History" is an attempt to shed light on the path of women's lives through filters of history. About 100 pieces, including old vessels, socks, and underwear, symbolize the images of burial objects excavated from the tomb, through which they express women's everyday lives and evoke the flow of time. Pieces consist mainly of laver, which is organic, Seaweed goes through a process of drying, contracting and forming molds similar to human aging processes. The fundamental forces of growth, corruption, creation and extinction, life and death are evident through Seaweed's physical nature.

Sculptor Kim Byung-jin's work is unique. The reason why the works evoke various emotions from visitors is because there are different forms of language in the works. The material mostly handled by Kim Byung-jin is iron, which produces works with thin lines that weaken the hard and strong properties of iron. These thin lines are again in the form of occupying space, and the volume created by the intersection of the unique properties of iron and the author's techniques to weaken it is seen as a transparent piece that communicates with space.

The babel tower is connected to Babylon, which means "the door of God," but the author of "The Book of Genesis" turns around. It is believed to have been used with Balal in mind, which means 'to confuse'. In the Old Testament, Babel symbolizes a society that has abandoned God. Genesis has a short and very dramatic anecdote about the Tower of Babel, and it has built up a tall, huge tower and casts a curse on several languages that were originally one God, angered by the arrogant acts of humans trying to reach the sky. The construction of the Tower of Babel eventually came to an end in chaos, and the humans who wanted to build it were scattered around the world with different languages amid distrust and misunderstanding.

Kim Ki Jong’s Garden of Dreams is an installation art piece that aligns appropriately with the theme of this year’s biennale. The origin of this piece begins from the ocean, with a boat that, although it is unknown when, crashed into the rocks beneath the waters only to be discovered years later. Within that boat were several rare ceramic pieces of all shapes and sizes, some broken into pieces and some intact. Here, the artist incorporates both the control of art and the boldness of using openings to create a ceramic object that demonstrates the appeal of installation objects.

This piece is Lee Sungok’s Sounds of nature. Sculptors often use their art forms to create abstract images of people, animals, or objects. Lee has a particular interest in small, cute insects. She creates dragonflies, butterflies, and honeybees using stainless steel as her medium of choice. For Lee, insects are icons symbolizing nature. Through her art, she grants these insects the gift of eternity and gives city-dwellers who long for contact with nature with a way to keep a part of nature close to them even when indoors. Lee’s art are expressions of nature, bringing living things that are gradually moving farther away from the cities closer to those who live there. The artist’s goal is to reflect the image of those who observe her art into her pieces to create a sense of living together in harmony. Lee’s pieces are made of stainless steel, thus making them resistant to corrosion from the elements and rust. The artist also prefers this medium because it acts as a mirror, reflecting the outside world so that the artist’s world and that of the wearer come together as one at any given time.