Issue 5, Plus Connect

Jian Yoo

Brighter existence that embraces the new history

Words PLUS MAGAZINE

Photography JAE KIM

There are no waves in the ocean that can be repeated. These are records of time and traces of the sea that glisten with each continuous and innumerable flow. With meticulous craftsmanship, Jian Yoo utilizes mother-of-pearl to create vibrant works that whisper beauty and motion through each mosaic-like composition. As the sea meets waves and creates large and small currents, mother-of-pearl and Yoo fill each other. Yoo’s mother-of-pearl is no longer an object in history or tradition but a brighter existence that embraces the new history of those living in the modern age. In this interview, we discuss the endless curiosity of artistic language representing her practice and the power of connection it has for her as an artist.

PLUS MAGAZINE: How did you begin utilizing nacre, the so-called ‘mother-of-pearl?

JIAN YOO: In my 20s, while studying in New York, I was figuring out what keeps me competitive and what my possible future path could be. I contemplated what I was good at and could still capture my identity. What first came to mind was the mother-of-pearl, which I’ve seen often growing up.

My father operated a mother-of-pearl studio before I was born, and thanks to him, this material was very familiar and close to my heart. While mother-of-pearl is also used overseas, I’ve never seen the kind of craftsmanship or brilliance that Korea has shown. So when I returned to Korea, instead of viewing the mother-of-pearl and its glow as a regional or historical material, I decided to approach it in a modern art direction with the intention of seeing it as an art medium to create a genre of my own.

P: Can you share these memories of growing up in Korea and being exposed to the creative scene from a young age?

JY: The images of my father and the other master artisans, drawing designs, inlaying the mother-of-pearl, coating with lacquer, as well as the sight, the touch, the smell, the traits of similar materials, the feelings—all of this still stick closely with me in my memory. Watching over their shoulders was a daily occurrence, so I know how much time and effort it requires for a piece to be completed. When a piece is sold in Korea, people say, “You’re marrying it off.” I think that expression alone contains the joy, the hardships, and the sense of accomplishment that come with this creative process.

P: So, what should one pay attention to connecting with this endless beauty and expression?

JY: While the physical trait of the mother-of-pearl is solid, the radiance of light that’s glowing is quite soft and warm. I believe beauty is this mystical and radiant shine emitted by time and life, and every piece of art using this material is solely completed through the human touch. In my works, I try to embody the depth of time these master craftsmen have spent studying and researching for countless years. It’s this exceptional value that I hope everyone will experience through my work.

P: It’s incredibly fascinating to see how this solid material can be tapped and broken down into a limitless imagination in patterns, images, and texture—creating such a unique visual dialogue. Could you share a little about the methodology and techniques?

JY: I receive most of my inspiration from nature, culture, and modern architecture. The topics of conversation in my work are usually: How can I maximize the shine of the mother-of-pearl? How can I present the mother-of-pearl in the direction I have in mind? Or how can I utilize wood and other modern mediums with the mother-of-pearl to create a harmonious result?

While the basic frame is done by modern technology, the actual craftwork must be done delicately by hand. It takes a very long time to create, but the process is flexible at the same time. It begins as sketches and then building a structure using wood, metal, or FRP. After, the prep work for inlaying the mother-of-pearl will begin, including sanding and coating with lacquer. The process will repeat itself numerous times to complete.

In terms of technique, such as tapping, breaking down, and placing pieces are mostly done intuitively where the hands will lead. This might seem as if there is no particular method, but when the thousands of lines and (small or big) pieces are inlaid onto the surface, they form their kind of order, forming an intimate relationship. Through this, each piece glistens like a precious jewel. As the mother-of-pearl is a natural material, I find it so fun and charming that there will never be two pieces of work that will be the same!

P: Beyond the Ocean_The Flow took a new approach to investigate the medium. With this series, you focused on revealing the mother-of-pearl’s materialist aspects to communicate with the work.

JY: Beyond the Ocean_The Flow is a series I created with the idea of essence. What’s the best way to express the trace of time that the mother-of-pearl embraces? If I express the radiant light of the mother-of-pearl as rolling waves, will it shine even brighter with more dimension? The continuation of these kinds of questions led to this series being born.

The works are made so that the shape would resemble an island, almost as if it belonged back to the ocean. The pieces have the stability to be used as a lounge chair or a stool while ensuring that the object’s outer appearance and the flow of the surface are smooth and natural-looking. The theme of the series and the material used is a cohesion of life forces that have withstood the long flow of time. To condense every aspect into one object required much trial and error and endless effort.

And when people tell me that they can feel the remnants of time and energy through the art piece, like the object could possibly be found in the ocean somewhere after experiencing the passage of time, or gives the natural sensation of the constant flow of the ocean, I feel incredibly grateful as my intentions were conveyed well.