OCTOBER 15-November 20, 2019

Reception: Wednesday, November 6th 5-8pm


JUNE LEE ( Korea)

“Today as the History of Tomorrow”

I was on a residency program in a remote rural town in the US, 16 hours away from Korea by plane, where I discovered a miniature pottery shaped like an old Korean artifact of Goryeo celadon. I was both blown away to find this small, palm-sized pottery shaped like a relic of the Goryeo Dynasty in such an unexpected place, as well as curious as to how this piece of pottery could have made its way to such a far distance as a countryside in the United States. Thinking that it’s probably a gift from someone or a souvenir, I also began to wonder if such an idea as an indigenous culture of a country actually exists.

I regard pottery as an indicator of history. The first art history class in university begins with the Altamira cave wall painting. The beginning of Korean history class begins with the Paleolithic period where pottery begins, which continues to the comb-patterned pottery in the Neolithic Era. As such, pottery is an indicator of history, and we learn about history based on the pottery discovered, because we can assume what region, cultural sphere and period it comes from just by looking at its shape, pattern and color.

However, would people living 100 years from today in year 2019, be able to assume the region, cultural sphere and period of the pottery of today? Would they be able to say that something that’s unique and indigenous to a certain area exists like it did in the past? In the present age, we can fly anywhere in the world, and live through various cultures we have never physically been to, vicariously through the internet, books and media. Elements indigenous to particular cultural spheres or specific regions are gradually becoming blurred, and slowly mixing with the present culture.

Through this project, I propose to produce pottery works that can function as indicators of the past in the future, when today becomes the history of tomorrow. My work involves researching indigenous patterns of cultures of different countries in the past, and applying it to contemporary shapes, patterns and images of contemporary art widely used today by searching on the internet. Such patterns and images are individually drawn by hand on fragmented pieces of pottery using thread and under glaze. Finally, these broken fragments are put together into the final outcome of a pottery (Korean crock), which will signify today as a history of tomorrow.


“Angels and Amulets”

After being a jewelry designer of one-of-a-kind pieces for 45 years, a series of

synchronicities led me to work with a group of special angel figures sculpted by

James Love, and Love Angels Jewelry was born. I see the Love Angels as an invitation

and reminder that angels are present and available to bless our lives.

I was drawn to the angel pendants the first time I saw them. They had a beautiful,

organic form that felt magical to me. I knew immediately I wanted to make jewelry

with them and learn about the artist who made them.

A jeweler in El Paso, James Love was working in wax when he discovered that

angel-like shapes were being formed from small pieces of wax that fell to the table

as he worked. He always said, “The angels created themselves.” James made molds

of the figures and cast them. He gave them to people who were sick or grieving, for

healing and comfort. James passed away a few years ago. Since then, several people

have asked to work with the angel molds, but his wife refused. Although I was a

stranger to her, when she was asked if I could use the molds, she said yes. She felt

the angels wanted to work with me.

I love working with the angels, and in doing so, I’ve come to understand that it’s not

just the beautiful objects of the angel pendants that are present. There is a whole

angelic realm connected to them that wishes to work with us and bring more loving

to humanity.

These angels touch people who see them, people who wear them and people who

notice them on others. Angels will not impose their presence on us, but rather come

at our invitation. The angel pendants serve as a reminder to call on their assistance

and to connect with this loving realm. Love Angels Jewelry is an ever-present

invitation to call on angels for healing, comfort, inspiration, guidance and protection.


Singular Couture was founded unexpectedly by artist Sarah Nolan in 2015. Before going to a high-level luncheon where a female Supreme Court justice was speaking, Nolan decided to make an “artist’s coat” to wear. Painting vibrant colored grids on shining golden silk resulted in “Faberge” (see our gallery page for Nolan). Despite most attendees wearing fashionable minimalist black/white/grey, Nolan was surrounded after the luncheon with women wanting a coat like hers. Singular Couture was born.

After managing the growing business from her studio in NYC, Nolan moved to Santa Fe in mid 2016. She found she could easily combine her studio and a gallery in one small retail space. Santa Fe was a natural choice because people from all over the world visit for the art and the experience. In addition, she expanded her search for other artists and found the rich culture of local and Native American art to be perfect for attracting different artistic expressions. The artists were encouraged to view the body as a moving sculpture with their art being seen in the round.  The heart of Singular Couture is that there is great joy in creating and wearing a work of art.



Bogki Min

Bogki Min studied metal craft at Seoul National University and learned accessories and objects of daily life in Pforzheim University School of Design, Germany. After completing his studies, Min worked for Gebrüder Schaffrath GmbH, a German diamond manufacturer known for production and sales of innovative jewelry based on traditional craftsmanship.  He was invited by Tsinghua University, China to lecture on “Boundaries of Jewelry,” and held a director position in “Traditional Culture Heritage New-Design Project” recently organized by a state institution. He is interested in reassessing the value of traditional crafts and identifying ways and visions for traditional crafts to be passed down to the next generations.  His work is in the collection of Gallery RA in the Netherlands, Schmuckmuseum, Germany and Gottlob Frick Gedachtnisatte, Germany.

Jounghye Park

In an era when everything is moving fast, there is an artist who wishes to move slowly. Jounghye Park applies a making process that is time-consuming and laborious. She uses the heat setting method on colored fabric. She is inspired by plants and insects. Her ideas transform into wearable jewelry from necklaces to brooches. She studied metal craft at Kookmin University, attaining both undergraduate and graduate degrees. She then traveled to work in Nova Scotia, Canada.

Until now she has held 5 solo exhibitions. Her work has been shown in leading galleries in Seoul, Korea additionally as in countries such as the Netherlands, USA, France and more. In this particular exhibition, her work has been featured as vegetables and summer greens to evoke a sense of taste through organic shapes and color.

She won the Gold Prize at the Cheongju International Craft Biennale competition in 2013. She is participating in the residency program at the Victoria and Albert Museum, London, UK.



YVONNE PACANOVSKY BOBROWICZ, at 91 years young, Bobrowicz is still producing work every day in her center city studio. She recently

exhibited at the Philadelphia Museum of Arts and is currently on exhibit at the Chicago Art Institute.

The materials are knotted clear monofilament, natural linen, and 24 karat gold leaf.

In the words of the artiest “Monofilament as a fiber is lite, lights up, is flexible, expressing movement, light, energy “. Monofilament, a manmade and translucent material, is knotted in patterns creating cells of straight and curved lines, changing direction, forming three-dimensional volume. Curved knots receiving the vectors of the straight lines, “feminine and masculine characteristics “she states. The knots become particles with the vectors that connect them as “the force of attraction and separation become a cosmic energy field catching the light”. Natural linen, from the earth, opaque and absorbent is incorporated, varying the density of the particle field. Gold leaf, reflective, precious, and from the earth, contrasting the manmade materials and is alchemically symbolic.