Made in Korea is a cultural exchange between the UK and Korea evolving throughout 2017. The phrase ‘Made in Korea’ is often synonymous with the mass production of ephemeral objects. Korean ceramic tradition stretches back several millennia, and the artists featured throughout this project reinterpret and rework this historic legacy.
Following its launch at the Ceramic House, Brighton, Sladmore Contemporary are delighted to present this exhibition of exquisite Korean ceramics in Bruton Place. The exhibition is curated by ceramist Kay Aplin who will also be showing her own work.
Myung Nam An was born and brought up in Seoul, and has been based in London since 2005 when she moved to London to study ceramics at Camberwell College of Art and Design. An’s incredibly intricate and detailed ceramics tell stories using universal symbols. She explores abstract appropriated images from her culture and translates these onto the surface of the sculptures.
Sang Woo Kim graduated from Chonnam National University in 2004. Thereafter he developed his practice as an Onggi master in Boseong, Korea. From 2007 he worked in both Switzerland and Korea, completing his MFA from Seoul University in 2014. He is based in France. Kim uses the skills learnt making traditional onggi jars in his ceramic sculptural work. He is inspired by the round shapes that symbolise the ideal state of nature.
Hye Mi Lee graduated with an MFA in Ceramic Art from Seoul National University. Lee makes thrown vessels in stoneware and porcelain at Pildong Pottery in Seoul, which she established with a group of ceramists, where they run courses whilst continuing to create and exhibit. Her working method starts with the glaze first, from which she develops ideas about shape, size, and method of firing.
Sun Kim is a Korean ceramist brought up in Brazil. She graduated in BA Ceramics from Alfred University, New York in 2003. Since 2004 she has been based in the UK, working from her studio in South London. Kim’s work focuses on making functional objects which explore the relationship between the traditional and the contemporary. Inspiration comes from her surroundings - objects and their historical context, architecture, colour, design and nature.
Jae Jun Lee studied M.F.A Ceramics at Seoul National University. He describes his practice, “Ten years ago, I started throwing, and now I make a living making bowls. Sometimes I still feel like a beginner. Every day, I realise I need much longer and more effort to be skilled. There are so many products in the world. Generally, we are becoming less interested in hand crafted techniques as they compete with mechanised systems.”
Jin Eui Kim moved from South Korea to study Ceramics at Cardiff School of Art & Design, where he lives and works. He gained a PhD studying the illusory effects of the application of tonal bands to three-dimensional surfaces. Kim’s work attracts viewers through visual phenomena as well as physical confusions appearing on the surface of the ceramic, resulting in works that are both visually and intellectually challenging.
Eui Jeong Yoo lives and works in Seoul, Korea, and is currently doing a PhD in Ceramics at Hongik University. Yoo is interested in the infiltration of commercial brands into Korea since the late 1980s. He enjoys observing the social effects brought on by capitalism and materialism. His work is known for mixing and matching popular commercial objects through skillfully combining a number of different ceramic techniques.
Jong Jin Park studied MA Ceramics at Cardiff University, and is studying for a PhD at Kookmin University, Seoul. Park investigates the remarkable ability of ceramics to deceive the eye. By experimenting with layering paper and porcelain slip, he has created giant millefeuilles which are at once delicate, strong and have an almost wood-like quality. Park manipulates the senses of the viewer to make you wonder what is real?
Kyung Won Baek gained an MFA in Ceramics at Seoul National University in 2013. At Guldagergaard International Ceramic Research Centre, Denmark in 2014, she explored wood firing, which had a profound impact on her work. Baek’s works are vessel-sculptures using pinching and coiling techniques. Her inspiration comes predominantly from architecture and mechanical devices, often coiling directly with clay to produce unexpected results.
Bo Kyung Kim is currently studying an MA in Product Design and Applied Art at Burg Giebichenstein Kunsthochschule in Germany. Kim’s work represents “a quiet simplicity” outwardly, but it contains enormous practice to improve the technical degree of completion within. The main characteristic of her work is purity of form, adding surface geometric decoration which enhances, and never interferes with, the original form.
Wook Jae Maeng completed his PhD in Ceramics at Kookmin University, Seoul in 2015. For Maeng, art is a vehicle to communicate contemporary social and environmental problems by stimulating emotion, sensibilities and memories. His work expresses the nature of the relationship between humans and other creatures - a relationship that, in order to thrive, demands careful coexistence and balance between the urban and the natural world.
Chun Bok Lee is Professor of Ceramics and Glass at Namseoul University in Korea. Lee’s work is concerned with sensory spaces and volume. He utilizes porcelain, and techniques include pinching, coiling and polishing. Impressions experienced and observed during his walks in the forest are revealed through various lines and dots arranged on the surface of the work to play the role of manipulating light effects, creating transparency and shadows.
Veronica Juyoun Byun was born in Seoul, Korea and lives and works in New Jersey. She has an MFA from Rhode Island School of Design and a BFA from Alfred University, New York. Byun’s practice evolves from memories and questioning of her Korean identity. The colours and customs of Korea are often a source of inspiration. Her work is always defined by interior space, where the wall activates an imaginary passage between two cultures.
Min Soo Lee graduated with an MFA in Ceramics from Seoul National University in 2012 and is currently artist in residence at Yanggu Porcelain Museum in Korea. Lee’s practice involves creating forms with multiple layers of colour and cutting the objects to reveal the strata. Multicasting is a particular technique of slip-casting using distinct coloured slips in layers, which he has evolved into his own unique method by combining with wheel-throwing.
Jung Eun Han graduated with an MA in Ceramics from Central Saint Martins College of Art in 2014. Han’s decorative ceramics are inspired by her observations of the human condition, which she interprets and translates into the design narrative. Her pieces reveal subtle elements of humour which she weaves skillfully into the form and surface decoration playfully exploring anthropomorphic and graphic elements.
Twelve years ago, a successful French graphic designer called Edouard Martinet had
his Damascene moment. He became severely bugged, by bugs – but not for the first
time. He was 10 when one of his primary school teachers began to teach his pupils
about insects, and in a rather obsessive way.
Having studied at L’Ecole Supérieure des Arts Graphiques in Paris, he lived and
worked as a graphic designer in Paris from 1988 to 1992. Predictably, he found work
in publishing, and in advertising and trademark logo design. But after little more than
a year, he knew he was only marking time. The desire to create sculptures which
linked the precision of graphic design with his instinct for rearranging detritus
became too strong to ignore. “I like giving life to found objects,” he says, “and I don’t
want to make them useful. I only want them to seem alive, but not as if they could
be functional robots. I want the sculptures to give the impression, for example, that
a bird is about to fly, a grasshopper is about to hop. In a word – life!”
We encounter fishes made largely with kitchen spatulas, spoons, and trumpet parts;
a crayfish made with tool-parts; the swift ( in french a martinet !) with dark gleaming
steam punk wing ; a weevil with bike-chain feelers; and a praying mantis of such
complex delicacy that its individual parts defy recognition. Martinet has a “huge
storage” of material, cast-off bits and pieces whose shapes appeal to him. “And I
don’t always know what I am going to do with them. I use any sorts of bits. Bike
parts, utensils, radio parts, car and moped parts, car lights, umbrella ribs, sunglasses.
I find them everywhere – boot sales, brocantes, garages, everywhere you can find
used objects.” Almost anything can be of use. The strangest? “Ski-boot fasteners
from the 1950s, which I found in a brocante in the Dordogne. For some pieces, I
have to wait months. I had to wait 15 years to complete the first dragonfly. “
Edouard Martinet works mainly at night and his fabrication process requires
relatively few tools – essentially a drilling machine, grindstone, pliers, screwdrivers –
because he uses parts that will fit together naturally, only ever screwing piece to
piece. And he keeps them in their true found state, which could be almost new, wellworn,
or even rusted. If he has the right parts to fit his vision for a sculpture, its
making will take about a month. “The most difficult thing is to find the right part, the
one that will seem obvious – as if it had been manufactured specially for the
It is, perhaps, something like patience and tact that gives Edouard Martinet’s
sculptures their fundamental value in terms of form: he certainly knows how to take
ostensibly conflicting bits and pieces and sculpt them into something that is
figuratively refined, yet also full of surprising inflections of fact. This, ultimately, is
where the true resonance of his art lies. His sculptures force a re-imagining of the
obvious in which a meticulously finished object glows not only with perfection, but
with character and beauty.
New Drawings and Screen-prints
We are delighted to be holding an exhibition of new drawings by Rose Corcoran in December 2015.
To receive an illustrated price list please email firstname.lastname@example.org
Works can be reserved or purchased prior to the exhibition. To check on availability within the screen-print editions please contact the gallery.
We are delighted to be holding an exhibition of sculpture by Mark Coreth in November 2015. As well as many new pieces there are a number of choice works from his past catalogue in the show.
To receive an illustrated price list please email email@example.com
Works can be reserved or purchased prior to the exhibition. To check on availability within the editions please contact the gallery.
I am delighted to introduce the work of Anthony Turner at The Sladmore Contemporary. I first saw Anthony's work at the "On Form" exhibition of sculpture in stone at Asthall Manor and was immediately struck by the tactile, wonderfully luminescent quality of his natural forms. I bought one for myself and became determined to introduce them to The Sladmore as soon as possible. We have been selling largely bronze sculpture here for nearly 50 years now. Whilst we have occasionally had stone and marble pieces from our artists, this is our first show of purely carved stone and marble sculpture. I am so grateful to Anthony for agreeing to be our first carver and hope you can find the time to come and look at, and handle his work. Unlike our editioned bronzes, these pieces are unique, one time only sculptures
Nic will be showing an exciting new body of work, to include Bronze, lead and copper sculpture and a small selection of stone carvings. Following the huge success of the award winning recreation of his studio at the Masterpiece Fair there will also be a studio element in the gallery this year.
KENSUKE FUJIYOSHI AT COLLECT: The International Art Fair for Contemporary Objects
Collect Fair 2015 @ Saatchi Gallery