In 2015, a Chinese studio known as People’s Architecture Office made waves on art and architecture media when they used metal air conditioning pipes to create large-scale Chinese characters on the front exterior of the Tabular Baitasi Visitor center during the Beijing Design Week. The Tabular Baitasi Visitor center has long been used to host events and exhibitions that showcase renewal or regeneration strategies for Beijing’s Batasi, which refers to a cultural and historical preservation zone situated within the capital.
I-Hsuen Chen – Still Life Analysis II – The Island, Taipei, Taiwan
I-Hsuen Chen is a photographer, artist, and filmmaker that was born and raised in Taipei, Taiwan but is now based in Brooklyn, New York. As a photographer, Chen is well known for surveying and photographing foreign objects such as garbage as the main subjects of his photographs. In Still Life Analysis II: The Island, I-Hsuen Chen continues his survey of garbage and unfamiliar objects, which started in his first exhibition titled The Still Life Analysis. In both series, Chen concentrates on collections of typical household objects that a homeless person would have beneath the Civic Boulevard.
Yeesookyung is a South Korean artist living in Seoul. She is known for her complex and enchanting ceramic designs and sculptures. The Translated series series, like many of her works, is made up of shards and fragments of broken ceramic pieces that are carefully pieced together like a jigsaw puzzle. Yeesookyung created her Translated Vase back in 2002 after she observed discarded trash from the ceramic master Lim Hang Taek glimmering in the sunlight. The reflection of light from the shards and the organic forms of the cracks inspired her craft.
To create the Translated Vase, Yeesookyung uses epoxy resin to glue together the different fragments of the broken pots. To make the fissures and the cracks more prominent, Yeesookyung uses 24-carat gold leaf for glazing. The gold acts as the perfect addition to complement the beautifully misshapen fractures of the re-constructed vase.
The biomorphic form of the vessel helps to capture the eye immediately as the repurposed pottery created manages to surpass the original beauty of the vase. The Translated Vase combines the delicate fragility of ceramic pottery with the fortified strength of the glue and the gold, the end result of which is something truly magnificent. Yeesookyung covers the cracks in gold because the Korean word for crack and gold is similar. The use of products that share the same name also helps to add an element of humor to the work.
Yeesookyung’s technique in pottery, as stunning as it may be is not new. For years, artists in Korea have been reconstructing and rebuilding discarded ceramic pieces that would typically be considered trash in other parts of the world. The waste is sometimes restored to create new Korean ceramics while others like Yeesookyung’s are used as art. This art form, known as Kinstukuroi also uses metals such as platinum and silver for the repairing process.
The Translated Vase represents the struggle that all individuals face in life. The cracks on the vase represent the wounds that are formed from the struggle while the gold represents the beauty and maturity that people experience when they overcome suffering. Aside from denoting the suffering, Yeesookyung’s attention to detail helped to break the ceramic tradition that insists on perfection.
Rather than discard a perfect piece, like a master potter would, Yeesookyung chose to create new forms from the useless pieces to emphasize that imperfection can also give way to stunning beauty. It is safe to say that the Translated Vase succeeded in channeling the imperfections and irregularities that exist in nature.