Four prominent Korean designers working on the international stage gathered to discuss their creative journeys, cultural identity, and the challenges of building global careers while staying connected to their Korean heritage. The panel, titled "Korean Designers Illuminated on the World's Stage," took place at Seoul's Dongdaemun Design Plaza and featured artists from different generations who have successfully established themselves in major international art markets.
The discussion brought together curator Cho Hye-young and four accomplished designers: Choi Byung-hoon, who founded The Society for the Creation of Decorative and Applied Arts in 1977 and pioneered the concept of "art furniture"; Kim Min-jae, whose furniture trilogy for Marta Los Angeles skillfully combines Korean elements with Western design forms; Lee Jai-ik, who creates metal sculptures inspired by traditional ceramic vessels and is represented by Salon 94; and Jane Yang-D'Haene, whose ceramic works serve as canvases for painterly expression at Mindy Solomon Gallery.
Choi Byung-hoon, who has been represented by New York's prestigious Friedman Benda gallery since 2011, provided a veteran's perspective on how dramatically Korean design has evolved over the decades. "Back when I was starting out, people barely knew anything about Korean culture," he remembered, reflecting on the early challenges he faced. The fundamental question he encountered was both simple and profound: "If they could work with someone local, why call a Korean artist from abroad?"
To overcome these obstacles, Choi invested years in deep cultural research and preparation. "I spent years really understanding our culture – visiting sites, reading everything I could find," he explained. "When you're showing internationally, audiences can't tell the subtle differences among the different Asian cultures. You have to be able to explain what makes us distinct." His approach emphasized the importance of being able to articulate the unique qualities of Korean design and culture to international audiences who might not understand the nuances.
Kim Min-jae offered a different perspective, discussing how his sense of displacement became a source of creative energy. After transitioning from architecture to furniture design and relocating to New York a decade ago, he has learned to embrace his outsider status. "What really hit me was always being the outsider – studying Western architectural history, working within Western design traditions," Kim shared. "Now, I feel like a stranger in both Seoul and abroad. I try to channel that feeling directly into my work."
Interestingly, Kim's relationship with his Korean identity shifted based on how others perceived and interpreted his work. "At first, I tried to hide my Koreanness," he admitted. However, when early press coverage consistently focused on his Korean background and interpreted his designs as contemporary takes on traditional themes – even though that wasn't his original intention – he decided to embrace this narrative strategically. "For my third solo Miami show, I thought, fine, let me give them what they're talking about. That's how I got to incorporate the recognizable Korean motifs."
Lee Jai-ik didn't hold back when discussing the significant challenges that Korean designers face within their home country's art market. "In Korea, there's serious discrimination between creative fields, especially when it comes to craft," he stated bluntly. "The domestic market is obsessed with painting because of its investment value. Those of us making three-dimensional work barely get a look." This reality has forced many Korean artists in his field to look internationally from the very beginning of their careers.
"Just like Korean companies that develop products for export, we have to look for opportunity overseas," Lee explained, drawing parallels between the art world and Korea's export-driven economy. His path to international recognition required persistent effort and strategic use of digital platforms. "I worked social media like it was my actual job," he revealed. "I feel artists are basically like entertainers or politicians – you have to constantly prove you're alive and working." His persistence paid off when, after being rejected by the Loewe Foundation Craft Prize four times, his 2023 finalist selection opened doors to exhibition opportunities in New York and led to successful gallery representation.
Jane Yang-D'Haene brought yet another perspective as someone who left Korea as a child and grew up between cultures. "I don't feel fully Korean or American. I'm really just a New Yorker," she said, describing her complex cultural identity. This in-between existence fundamentally shapes her artistic practice, particularly in how she merges traditional Korean vessel forms with contemporary painting techniques. "I use my childhood memories, but they're filtered through 40 years of life in New York. I can only show what it looks like from between two cultures."
When the conversation turned to the role of galleries in artists' careers, the panelists revealed nuanced and sometimes conflicted feelings about the traditional art market structure. While they acknowledged that gallery representation remains important for broader exposure and credibility, they also pointed out that digital platforms have significantly changed how artists can build their careers and reach audiences directly.
Kim Min-jae observed how much the landscape has evolved in recent years. "These days, so many artists are making it work on their own terms. Artists now have to play both sides of the game," he noted, referring to the need to balance traditional gallery relationships with independent digital marketing and direct sales.
Choi emphasized the critical importance of active self-promotion in today's highly competitive art world. "You can't just lock yourself in a studio and expect the world to come knocking," he advised. "That idea of the tortured artist working in isolation is dead. You need to be out there, keep making noise and making connections." His words reflected a broader shift in how successful artists must approach their careers, combining creative excellence with business savvy and consistent public engagement.
