As a silversmith the use of traditional silversmithing techniques, especially hand raising, allows me to create the fluidity of organic sculptural objects, which have a close relationship to natural forms.

Often my work is imbued with Korean wit and humour and overlaid with  elements of my own experiences that I’ve had since moving to Australia. Some of my work aims to challenge, engage or surprise the viewer, for example, one of my works “Flying Teapot” (the collection of the Arts Centre of Melbourne) reveals unexpected outcomes as you examine it closely. Firstly it is perceived to be a teapot, but then you realize it can’t possibly function as such as its actual function as a lamp becomes apparent.

 

I also think various cultural experiences have influenced the production of my work.  An essential element is the fusion of Korean and Western cultures that results in a universal visual language. In Australia I have a small studio where the limitations of space have encouraged me to explore the translation of silversmithing techniques to a scale applicable for wearable jewellery and containers. It also reflects a change of process, whereby individual components are constructed and then collated into a composition, allowing greater freshness and versatility than that provided by a fixed design concept.