Social Media Discourse: Art Dealers Debate Amplifying Korean Design Trends Online
In the dynamic world of art and design, Korea is making a significant mark. This is evidenced by the growing presence of Korean artists and designers on the international stage, a trend that has been fostered by key players in the industry.
Kim Hee-chan, a Korean sculptor based in New York, is one such artist who has found success. It took him 18 months to become market-ready, as attested by Stewart. His work is represented by Simon Stewart of Charles Burnand Gallery, who highlights the mastery of materials as a defining characteristic of Korean practice.
Zesty Meyers, co-founder of R & Co., has played a pivotal role in introducing Korean artists to American audiences since 1997. Meyers encourages the Korean audience not to underestimate the power of Korean design and believes that culture drives change, having a greater importance in driving good out into the world.
Galleries remain essential for institutional validation in the marketplace, according to the gallerists unanimously. Kim Hyo-jung, director of Gallery Sklo, provides a local market perspective and notes the explosive growth in Korea's art collecting scene, but also the focus on investment rather than design and craft.
Social media has altered traditional pathways between artists and collectors, according to the conversation. The definition of what constitutes a collector has evolved accordingly, with Stewart suggesting that collectors today might be anyone with "three or more of one thing."
Jen Roberts, CEO of Design Miami, discussed the exponential growth of Korean design's presence at international fairs. Design Miami.In Situ Seoul held its first Design Talk session on Tuesday, showcasing the innovative glass designs of Joonyong Kim, an artist represented by Gallery Sklo. Kim's cast-blowing glass artworks transform fleeting light into tangible form, earning the gallery international recognition through exhibitions such as Design Miami.In Situ Seoul 2025.
Meyers explains that galleries have evolved to function as a talent agency, providing comprehensive support for artists. Major fairs invite galleries based on trust and track record, according to Kim. Current buyers tend to follow their instincts rather than collect within fixed categories, as Roberts notes.
In the end, the artist's role is to be a maker, not a businessperson, according to Meyers. This sentiment echoes the belief that today's collectors find objects that resonate personally, sometimes in dialogue with each other, sometimes not. The journey of Korean art and design on the international stage is an ongoing one, with much anticipation for the exciting developments yet to come.
