The transition from hand-made to machine-made object has enabled artists to assure, to a greater degree, the quality of the final piece. Technology has become an important tool that allows artists to follow through on their ideas to the end result. However, the glass-making process requires the glass artist to have acquired a certain level of skill to achieve a
satisfactory result in the studio. The results of the glass making cannot be predetermined but it largely, or wholly, depends on the glass-artist’s judgment, dexterity and care. Learning glassmaking, therefore, can be characterised as a constant negotiation between the artists and the artistic medium of glass, in order to achieve the best possible outcome from the
For this body of work, I intended to learn to cope with the challenge, as the quality of final outcomes is not guaranteed but decided by a number of factors (including failures) that influence achieving the best possible results. To do that, I deliberately choose to create more bubbles on the casted glass surface, which are often regarded as a failure for glass artists, by using small frit size glass and skipping bubble soaking during the kiln firing. However, by
applying gold leaf (23.5ct) inlay on the bubbles, I aim to celebrate the instability and uniqueness, which can be resolved through reflective negotiation within a given situation in the process of glass making.
Central to my artistic practice, the notion of unhomeliness has been explored by creating a glass object that possesses ’strangeness’ and could not find a sense of belonging within the existing (Korean or British) visual culture. My aim is to come closer to an understanding of the representation and consumption of an object and the ways that taste and value contribute to our understanding of the world by examining an individual’s cultural interpretation of the
glass object I create.
Choi completed his practice lead PhD research in Dec 2015 at the University of Edinburgh. He received his first degree in craft/design from Hanyang University in Seoul, Korea in 2003. He moved to the UK and enrolled on an MA programme in glass and architectural glass at the University of Edinburgh, UK in 2006. He
received the Scottish Overseas Research Student Awards Scheme (SORSAS) grant and the Edinburgh College of Art international student scholarship for his PhD research. His extensive experience of living and working in both Britain and South Korea has given him broader cultural outlook he sought when moving away from home. It has enabled him to position himself in what he calls ‘in-between’ and to examine both cultures with ‘fresh eyes’. Based on his personal experience of growing up in the East and living and working in the West, his interests have been drawn from questions concerning the notion of invented cultural authenticity, historical and symbolic meanings constructed around craft materials, and how they are appreciated in different cultures. Choi’s work has been exhibited both nationally and internationally including SOFA Chicago 2014/2018, USA, International Glass Prize 2015, Belgium, and Collect 2017/ 2018/ 2020 London, UK.