Tigers Again 2018, Casting Slip

The Master of the Forgotten Works 2018, Casting Slip

My Name 2018, Casting Slip

Prelude 2018, Casting Slip

Yes! 2017, Casting Slip, Kiln Brick

Tracing and clay taping of Brautigan’s surreal world. Utopia / Dystopia series

Mimi Joung, originally from Korea, gained her Masters in CERAMICS and Art from the Royal College of Art and is currently based in London, UK. MIMI has also been awarded membership of the Royal Society of Sculptors. SHE has made site specific and project-based exhibitions inspired by her interest in exploring ideas surrounding her materials (clay) and their history.

SHE completed AN Artist in Residence program at the Banff Arts Centre, Canada, which celebrates conceptual art in Canada and allows international artists to explore the future of their ideas And also received various arts grants and commission from Korea, England, Wales, and other countries. Joung is an award winning artist and exhibits her works internationally.

Mimi Joung

The Power Of Beauty 12.5W 7D 16H inch / 32W 18D 40H cm, Glass, Kilnformed ( Pate de Verre), 2015

A series of relics from the early 21century

​The remnants of high heels, a purse, and a shopping bag, are in a series of ​relics from the ​early 21st century as viewed from the 22nd century.

The Power Of Beauty 7.5W 3D 9H inch / 19W 8D 23H cm, Glass, mixed media, Kilnformed (Pate-de-verre), 2016

The Power Of Beauty 13W 4D 18H inch / 33W 10D 46H cm, Glass, mixed media, Kilnformed, Screen printed, Blown, 2015

The Power Of Beauty 13W 4D 18H inch / 33W 10D 46H cm, Glass, Cast, Screen printed, Kilnformed, 2015

Desires for Beauty 12W 8D 6.5H inch / 30.5W 20D 17H cm, Cast glass, brass label, 2014

Desires for Beauty 11W 6D 14H inch / 28W 15D 36H cm, Cast glass, brass label, 2013

A series of purses & high-heels lightings 14W 5D 16H inch / 35W 12D 40H cm, Glass, a LED light, Kilnformed, 2009

A series of purses & high-heels lightings 13W 4.5D 5.5H inch / 33W 11D 14H cm, Glass, ceramic, light bulbs, metal, Kilnformed, 2010

A series of purses & high-heels lightings 8.5W 4D 7H inch / 22W 10D 18H cm, Glass, a light bulb, metal, Kilnformed, 2008

A series of purses & high-heels lightings 10W 4.5D 8.5H inch / 25W 11D 22H cm, Glass, metal, Kilnformed, 2008

A series of purses & high-heels lightings 10W 7D 8H inch / 25W 18D 20H cm, Glass, Kilnformed, 2009

Hyesook Choi is a contemporary artist and currently living and working in Seoul, South Korea. Choi received a BFA in glass and ceramic and a MFA in glass at Hongik University in Seoul, South Korea. ​After, Choi moved to the United States and earned her MFA in glass at Rochester Institute of Technology in NY in 2016.

Her 2nd solo exhibition was held in Dyer Art Center in NY in same year. Her work has been featured in exhibitions internationally. She also was awarded a finalist from Emerge 2016 bullseye project in Portland. Most recently in May 2018, Choi held her 5th solo exhibition in Seoul.

Currently Choi is an adjunct professor teaching in the department of Ceramic and Glass Design at Hongik University Graduate school in Seoul.

Hyesook Choi

Daam Dah 2018 kilnformed glass, 23.5ct gold leafH:14cm W:13.5cm D:7.5cm

Daam Dah 2018 kilnformed glass, 23.5ct gold leafH:8cm W:14cm D:14cm

Daam Dah 2018 kilnformed glass, 23.5ct gold leafH:7cm W:7cm D:8cm

Korean Glass 2017 blown glass and ceramic parts from English manufactured teapots H:17cm W:15.50cm D:15.50 cm

Korean Glass 2017 blown glass and ceramic parts from English manufactured teapots

Korean Glass 2017 blown glass and ceramic parts from English manufactured teapots H:20cm W:20cm

Arabic glass

The Korean Glass

Originally from South Korea, Choi Keeryong came to Britain to complete a Master of Design at Edinburgh College of Art and in 2010, continued to embark on a PhD in Glass and Architectural Glass. Keeryong has exhibited widely across the UK whilst investigating the similarities and differences between cultural groups in terms of their aesthetic perceptions of visual experiences, particularly in relation to unfamiliar materials and surface imagery.

Choi’s motivation for creating this body of work is to explore how the ambiguity of an individual’s cultural interpretation can help to create the state of “uncanni-ness” in the audience’s visual experiences. He believes that this “uncanni-ness” provokes emotions and feelings and Choi manipulates this powerful tool within his artistic practice to promote the awareness of stereotypes in an individual’s cultural understanding.

Developing inlaid colouring techniques inspired by the ancient Korean “Saggam” pottery allows him to explore the state of ambiguity in visual experience by delineating geometric patterns and counterfeit letters onto glass artworks and encapsulating them in between the layers of transparent glass. The use of historical symbolism of tea and the popularity of English manufactured ceramic teapots are the metaphor for the cultural stereotype in both West and East.