“Nature is beautiful, not because it changes beautifully, but simply because it changes” — Nam June Paik
The Korea Society is again captivating the viewer’s eye with its newest exhibition, entitled Sculpted Voices, which presents a solid, eclectic group of pieces by two of Korea’s most productive artists.
Through the outlet of figurative sculpture, both artists are creating work that goes beyond cultural and language barriers, focusing in on their personal experiences and expressing them with a kind of universal emotion that anyone can appreciate.
South Korean-born Kyungmin Park received her first exposure to ceramics at the New York State College of Ceramics at Alfred University, and she went on to an MFA at the University of Georgia. She is currently an Associate Professor at Endicott University in Boston.
Jinsik Yoo, the second artist, is also from South Korea, and began his studies in Graphic Design at Kinkok University in Seoul. He worked as a graphic designer before getting his MFA in Ceramics, also from Alfred University.
Perusing the exhibition, I can easily understand the visual motivation and inspiration behind each intense and engaging work.
January 6, 2006, created in 2023, speaks to Park’s experience as a new arrival in America. One observes a whimsical figure wearing the traditional dress of Korea (hanbok) with a facial expression that hard to pin down – is it fear, longing or tiredness from a long trip? We don’t know, yet the image appears most comfortable with her faithful dog at her side. This work, created with the utmost of detail and with section by section precision, presents an outstanding combination of form, line and color.
The theme of immigration and otherness is most present in some of these works. Stemming from a rigid and traditional upbringing, Jinsik Yoo had to cope with being gay through a fervent urge of emotional and psychological expression. This manner is most prevalent in Burning Tiger #6 (gold) and Sanctuary, both produced in 2025. The former reads like a piece of Greek mythology; a centaur-like image presented in the sharpest of gold, with the legs and head of a soldier, its back toppled with flame-like tentacles and a tail. What I find most interesting about this piece is the wildness and militaristic bent it shows – a stark reference to South Korea’s period of oppression under General Park Chung Hee. The latter appears like an archeological high-relief, yet slightly abstract and uneven in its execution – the colors of rustic stone seem to jump out, while the forms of Roman-like figures are pronounced with unusual abandon. Amongst everything else, a fine formation of various shapes collides with intensity and magnitude.
Park was not only an artist with a craftsperson endeavor, but a precise storyteller of experiences. Where I Carried, Where I Landed (2025), conveys a mixture of traditional Korean customs and the American experience, intertwining in a series of images and symbols. The apple is customarily presented as an apology from one person to the other, though seen also as a sign of health, prosperity and well-wishes. The facial expression on the young girl may portray that of anger, trauma or indecision, as if wondering if the new world (America) she arrived to is truly the land of opportunity. Her semi-nudity symbolizes the beauty of being free and individualistic, yet her need to stay connected with her past and her culture, as shown on the “Thank You” lettering and “Happy Face” imagery – all coming together in a potpourri of meanings, colors and symbols.
Lastly, Yoo’s powerful work, Narcissus (echo) (2025), is pretty majestic and fascinating to look at. In the style somewhat akin to a Matisse figure, a reclined, surrealistic figure appears to lean over his head and longing at a figure below him, not realizing that it is him that he is looking at, thus presenting the viewer the importance of self-reflection, both internally and externally. With a grandiose presence and its attention to placement, this is a piece that truly captivates the human body in all its elements.
Given the vitality and power of these two great artists, and a well curated exhibition, it is surely worth the visit.
Jinsik Yoo, “Narcissus (echo),” 2025. Earthenware, glaze ceramic. Photo courtesy of The Korea Society.
On exhibit at The Korea Society Gallery till July 31st. An Artist Talk will be presented on Tuesday, June, 10th (for the viewing link go to: https://www.koreasociety.org/arts-culture/gallery-talks/2005-artist-talk-kyungmin-park-jinsik-yoo)
