Yee soo kyung biography for kids and wife

Independent Curator, David Elliott.

Yee Soo-kyung (Korean: 이수경, born ) is a South Korean multi-disciplinary artist and sculptor best known for her Translated Vase series which utilizes the broken fragments of priceless Korean ceramics to form a new sculpture.

In this respect her creative development may be understood as a moral progression towards an aesthetic goal that can never be fully known nor recognised because of the simple fact that it is in a constant state of becoming. Integrity is never an easy path either to understand or follow. Ironically, she has described her work as an artist as a quest for the Paradise Hormone [2].

It has provided a metaphor for transition, for the difference between cultures, and for reconciliation, and the images which it has conjured take different, conflicting forms: the elegant curves and texture of its fine white porcelain hint at the presence of a female body, yet this material is often fractured and awkwardly reconstituted, suggesting pain, adversity — and healing.

Getting Married to Myself , the title of her first solo show in Seoul and Tokyo in , asserts from the very beginning her belief in herself as an artist as well as her need for an artist double.

In connection with her husband’s work, Yeesookyung moved to New York for two years in the early s where she gave birth to a child and made little art.

Circumstance had planted the seeds of this ironical love affair in childhood. In Seoul where she was brought up, absent, hard-working parents meant that she had to find courage to combat loneliness by creating another world and persona through drawing. As in all marriages, the road she has taken has sometimes been bumpy. Like Dante led by Virgil, art has enabled her to scrutinise and pass through the circles of hell, purgatory and heaven taking in what she needs to make her work.

Born in , Yeesookyung belongs to the first significant generation of women artists and curators to have emerged in Korea. As in China, western modernity did not begin to make an impact in Korea until after the First World War but it was strongly tainted by association with the colonial rule of Japan. In both halves of the country the military ran riot.

Between these rigid, irreconcilable, essentially ideological extremes there seemed little space for individual exploration, frank self-criticism or reflection — in fact, neither truth nor beauty. The development and work of Yeesookyung, as well as that of many other artists of her generation, can be seen as a direct response to this impasse.

I could see its importance but none of it ever moved my heart.