Jjirasi Vase is one branch out of a project New Koreanism. The word 'Jjirasi' is orignated from Japenese word 'Chirasi' that means flyer. And Korean use that to imply vulgar flyers on the street. 
In this project, so-called ‘street aesthetic’ is used as a representation to imply Korea’s rapid growth and chaotic modernization. At the same time, it reminds the artist of his nostalgic childhood in Korea and creates two opposing values.
The results show colorful and loud pattern of signboard on the form of classic object. 
The combination of those two different time axes is rather rough and aggressive. This methodology is based on a reflection that every treasure and trash is mixed and chaos grows due to the turbulent modern history of Korea. Through these works, the artist implicitly reflects and quests the historical path of Korean society. Also, while scanning the time axis of the past and present, he takes optimistic view that the advertisement images can be interpreted as a new cultural resource in the future.

Jjirasi Vase

Contemporary Monument is a monolith of our time. The stack of vases are covered with advertisements, leaflets, signboards. Advertisement in Korea is often considered a form of pollution. Signboards devour buildings, flyers encroach streets. They shout, glitter, scatter, parasitize. This excess is due to the rapid growth and chaotic modernization of Korea. 
This high and overwhelming sculpture old and new icons both. The combination of those two different time axes is rather rough and aggressive. This methodology is based on a reflection that every treasures and trashes are mixed and creates new creature due to the turbulent modern history of Korea. Through the work, the artist implicitly reflects and quests the historical path of Korean society. What has brought us today? How can we deal with tradition? And how can we make an advantage from what we have now?

Contemporary Monument

Jjirasi Tables are a branch out of a project New Koreanism. The word 'Jjirasi' is orignated from Japenese word 'Chirasi' that means flyer. Nowadays Koreans use that to imply vulgar flyers on the street. 
Soban, traditional Korean low table is used as morphological motif. The traditional pattern of flower on the plate is made of flyer of illegal gambling house's advertisement in Korea, which is common on it's street.
In this project, so-called ‘street aesthetic’ is used as a representation to imply Korea’s rapid growth and chaotic modernization from the artist’s point of view. At the same time, it reminds the artist of his nostalgic childhood in Korea and creates two opposing values.
The results show colorful and loud pattern of advertisement on the form of classic. The combination of those two different time axes is rather rough and aggressive. This methodology is based on a reflection that every treasure and trash is mixed and creates new creature due to the turbulent modern history of Korea. Through these works, the artist implicitly questions the historical path of Korean society and maintains a critical perspective. Also, while scanning the time axis of the past and present, he takes optimistic view that the advertisement images can be interpreted as a new cultural resource in the future.

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Yongwon Noh