"Across a Crowded Room...." 2009  39"h x 27"w x 22"d



"Across a Crowded Room...."  detail



"Copper Silver Collage" 2002 Glass Vessel Form with Stopper Private Collection



"Basket...." 2006  24"w x 24"h Collection of The Museum of Fine Art, Boston, MA



"Fertile Ground...." 2009   35" x 40" x 49"h

Brent Kee Young, glass artist and Cleveland Institute of Art Professor, has been recognized by scores of museums, galleries, colleges and universities in the United States and Asia, which have displayed and acquired his work and invited him to speak, demonstrate and teach. In 2006, the Smithsonian American Art Museum’s Renwick Gallery acquired its second piece by Professor Young for its permanent collection. “Amphora … Save” is from Professor Young’s Matrix Series, a construction of intricate and technically complex works he created by flame working Corning Pyrex glass rods into layers of glass webs. Also in 2011, Professor Young was selected to receive a most prestigious Creative Workforce Fellowship, generously supported by the citizens of Cuyahoga County, Ohio where he lives and works.

Professor Young has conducted numerous workshops in the U.S. and Asia including at The Niijima International Glass Art Festival, Niijima, Tokyo; the International Glass Art Society Conference, Seto, Japan; Grand Crystal, Peitou City, Taiwan, ROC; University of Miami, Coral Gables; Southern Illinois University, Edwardsville; University of Kentucky, Louisville; and California Polytechnic University, San Louis Obispo. He has served as a juror for The National Endowment for the Arts and lectured at the Smithsonian Institution's Renwick Gallery. In 1990, Professor Young was selected as head of glass at Aichi University of Education, Kariya, Japan where he was responsible for establishing the studio, designing and implementing the curriculum and teaching the first glass program in a National University in Japan.

Brent Kee Young

Technique, medium: Flameworked, Borosilicate Glass
Height (cm): 61, Width (cm): 46, Depth (cm): 46, Photo Credit: Arthur Chen

Boxes with the organic form of the tree which becomes a metaphor for the self -- reaching, climbing, singing, and striving.

Korean-born glass artist Eunsuh Choi is something of a portrait artist, whose flameworked pieces are personal narratives, portraits of her own moments of growth. Eunsuh Choi’s is the archetypal immigrant’s tale run through the artist’s filter. Choi arrived in the U.S. having already completed a Master’s degree in glass but determined to pursue further glass education. She chose the Rochester Institute of Technology (RIT) as a place where she could both study English and earn a second MFA degree in glass. Eunsuh Choi uses flameworking techniques to create objects and installations composed of intricately fused glass threads.



A Maternal Instinct  Flameworked, Borosilicate Glass  Variable

Sitting in diligent concentration behind a small torch, she bends and joins thin glass rods into complex arrangements and systematic structures evoking the textiles she studied in Korea. Today, the artist forms countless tiny glass rods into a cube composed within a perfect hexahedron. Eunsuh works her way through a psychological journey that juxtaposes aspiration and limitation; meanwhile, the forms in her art shift to reflect the mental work. She has produced a succession of melting icicles, ladders, cages, boxes, and trees. “In my current work I combine a box with the organic form of the tree.



Progression I    Flameworked, Borosilicate Glass, Silver  8* 8* 10 in

The tree becomes a metaphor for the self -- reaching, climbing, singing, and striving. I place the tree inside the box, a cage with triangular symmetrical shapes as the object that lives and breathes and has the capability of growing or dying. It represents my struggle inside the box of my existence when, as a foreigner and woman, I come across limitations on the attainment of my dreams. Choi has been working glass for 12 years and has broad knowledge in all aspect of glass. Choi’s work has been featured in a number of magazines, including Art Buzz, New Glass Review, Neues Glass, The Club Quarterly, Niche, The Flow, Emerging Glass Artists (Korea), Luxury, Baltimore Style, American Craft, and Profitable glass(upcoming). All of these venues are competitive except for the American Craft magazine and Profitable glass, for which she was nominated as a searchlight artist by the American Craft Council.

Eun Suh Choi

Brooch: L78
Pearls, found objects, beeswax, resin composite, plexiglass, copper



Necklace: L8
Gold leaf, resin composite, Silk cord



Ring: L6
Mother of pearl, found object, beeswax, resin composite

My observations of everyday lives and daily rituals, and my curiosity about the logic of each event have nurtured my work. Playing with conventional jewelry components, such as broken jewelry parts and gems, I am striving to create a dialogue about the subconscious pursuit of excess.

Having traveled around the world, I appreciate the organic combination of jewelry and the human subconscious. From an antique royal tiara displayed in a museum to a street vendor’s thrifty beaded necklace, the act of adorning and choosing adornments has always kindled on our desire for possession. Using uncomfortable visual associations about body fat, each object simulates the consequences of being excessively desirous. As these objects are adorned with gemstones and playful colors,however, the bitter reality gets sweetened up.

Ji Min Park

Necklace: Connection 2010 Steel, enamel, ground rock
93 x 45 x 10 cm Photograph: Jim Escalante



Necklace: Connection 2010 Steel, enamel, ground rock
42 x 26 x 8 cm Photograph: Jim Escalante



Pendant: Connection 2010 Steel, enamel, ground rock
12.5 x 7 x 5 cm (L), 11.5 x 5 x 6 cm (R) Photograph: Jim Escalante

My recent work comprises sculptural units in which steel wire is used as basic material. As the basic structure is needed to construct a building, numerous layers consist of a form in my works. As I discovered another layer of personality which I had not been aware of, I began to be interested in the figures of the layer and induce them to my works. When a unit or multiple units complete a perfect structure or form, my jewelry becomes powerful and comes to life.

Human body is the perfect space to install my jewelry on. Only when my works, the body ornaments, get perfectly installed on the wearer, emotional and structural rapport starts with the wearer.  As in architecture, the site and scale of my work play an important role as well. As people imagine building an ideal house of their own, I also pursue building my house of jewelry on human body, too.

Hee jin Hwang

Wear It! Feel It! 14 x 5.0 x 3.0 cm 2007 Wool, Cactus, Copper



Segmented Life brooch



Growth Series
Fine silver, Wool, Wood, Horse hair 42 x 14.5 x 6.5 cm 2009



Growth Series



Mushroom Series



Wood, Copper, Plastic, Sterling silver, Sand, Natural pigment 10 x 12.5 x 4.5 cm



Wood, Plastic, Copper, Sterling silver, Natural pigment 13 x 11.5 x 6 cm



Seashell from Miyazaki, Copper, Sterling Silver, Plastic, Natural Pigment, Stainless steel
8.5 x 12.5 x 6.5 cm



Natural forms, processes and movement inspire me to make jewelry.  When a natural form emerges from its environment, it follows no exact model as it becomes visible.  Forms from nature have mysterious origins which are incomprehensible to the human mind.  

We try to understand how and under which circumstances they acquire a life yet the creation of these forms remain invisible to the human eye.  My jewelry investigates the mystery of creation, capturing the moment in which the void and fragment become substance.

Eun Yeong Jeong