Larissa Hjorth's practice incorporates video, photography, sound and even smell in order to explore the ways in which domestication and commodification are negotiated through everyday practices.  In Seoul Hjorth worked collaboratively with artists, academics and people working in the telecommunications industry to initiate projects examining the role of mobile phones in Korea as a symbol of sociality and individualism. She conducted four projects that resulted in workshops (at Hallym University), produced video works and a catalogue entitled Snapshots and she held two open studio exhibitions at SSamzie Space.

Funded by the Australia-Korea Foundation and the Australia Council.

Richard Giblett was the first foreign resident at SSamzie Space, Seoul.  During his residency Giblett produced photographic, installation and paper-based work that responded to both the physical and imaginative geographies of Seoul. Giblett recorded his surroundings with a plastic ‘Joycam’ polaroid camera and the resulting photographs were included in the exhibition The Yellow Sea.  The exhibition also included work based on numbers - the yellow telephone numbers on advertising stickers around Seoul being the only script decipherable by the artist - and drawing based work relating to the zeros and ones in digital technology.

Funded by the Australia-Korea Foundation and the Australia Council.

Locust Jones’ drawing-based practice is inspired by global news imagery and stories. Since 1993, Jones has held over 25 solo exhibitions within Australia and internationally including in Germany, India, Lebanon, New Zealand, and the United States. His work features in several major public and corporate collections. During his residency at the National Art Studio, Changdong, he intends to investigate and incorporate Korean news media imagery to produce a series of ink drawings. Jones selected a residency in Korea due to its rich paper making culture. He plans to draw on the very fibrous Hanji paper that is made in rolls from the mulberry tree and is perfect for his large-scale drawings.

Supported by the Australia Council.

Ian Haig’s work includes installations, videos, animation, sculpture and drawing exploring subject matter that is at times perverse and provocative.  His work has been exhibited in galleries and festivals worldwide and his animation and video work has screened in over 120 festivals internationally.  At sSamzie Space, Seoul, Haig shot, edited and researched material for a new video and installation project which takes the form of a science fiction mondo documentary, exploring the language of new age mysticism, cults and alternative consciousness and their relationship to technologies of transformation.

Funded by the Australia Council and the Australia-Korea Foundation.

Meredith Rowe is a textile designer, best known to the Australian fashion industry as cofounder of Vixen Australia (with Georgia Chapman), an award-winning and internationally acclaimed partnership.  Rowe undertook an Asialink residency at Kookmin University. The residency involved teaching in the Fashion Department at Kook Min University and developing four different bodies of work exploring her fascination for both traditional craft forms and the elements of global and industrial culture. While in Korea she organised a residency in Australia for Korean artist Inhwan Oh to come to Sydney and set up other projects to maintain bilateral links.  Additionally she curated an exhibition of Australian textile/fashion designers for Fashion Centre Korea and exhibited her own work developed in Korea at Westspace, Melbourne.

Funded by the Australia Korea Foundation, Arts Victoria and the Australia Council.

Steve Tepper is a furniture maker and sculptor.  As well as maintaining a more personal art practice Tepper has travelled extensively in Asia and Europe often working with architects and planners on large public and urban commissions.  During his residency at Kook Min University in Seoul in 1999, Tepper taught metal craft students and pursued his furniture design practice influenced directly by the visual stimulation of the market places and shop displays.  He participated in a group exhibition of 24 Korean artists titled Silver and Gold for Living within the Happy World department store. He gave several slide talks about his work and Australian furniture design in both informal and formal settings at universities and participated in the 1999 Fusion and Vision Furniture Conference.

Funded by the Visual Arts Craft Board of the Australia Council and the Australia Korea Foundation.

Guy Benfield is no stranger to arts residencies, having successfully undertaken residencies in Portugal, Lithuania, China and New York. His work spans the performing arts and installation genres, and recent exhibitions include Erratic Anthropologies in New York and Axis Bold As Love in France. At Changdong Art Studio in Seoul Guy will develop a new project incorporating sculpture, performance and video. He aims to facilitate new ideas by experimenting with different modes of presentation, workshops, and performance-based lectures. (SUPPORTED BY THE AUSTRALIA COUNCIL FOR THE ARTS)

Glass/installation artist, Yenda Carson spent four months In 1998 at The Kookmin University, Korea.

Funded by the Visual Arts Craft Board of the Australia Council and the Australia Korea Foundation.

Painter Wilma Tabacco, spent four months at The Kookmin University.

Funded by the Visual Arts Craft Board of the Australia Council and the Australia Korea Foundation.

Petrus Spronk is a traditional ceramic artist and conceptual sculptor.  His association with Korea began in 1999 on his first Asialink residency.  In 2004 Spronk returned to Korea to undertake the project Writing the Walk, a walking tour of Korea that he documented via a web-journal, as well as in a series of articles Letters from Korea in the Daylesford Advocate.  On his return, Spronk continued to inform his community about Korea through presentations to community groups and schools and with Words in Winter a public, illustrated, reading of his Korean letters.  As a result of his time in Korea, Spronk has also produced a number of stories which he plans to publish accompanied by stunning photos of the Korean countryside.

Funded by the Australia-Korea Foundation and the Australia Council.

Petrus Spronk is a both a traditional ceramic artist and conceptual sculptor who has been influenced by the techniques and traditions of North Asian pottery and religion.  His woodfired, earthenware  bowls are burnished rather than glazed and often broken and reassembled  to create a compositional effect.  During his residency Spronk lived and worked in Seoul, based at Kook Min University for six months.  During that time he taught extensively, exhibited his work and wrote a fortnightly column for the his local newspaper, The Daylesford Advocate.  Since his residency Spronk has returned to Korea twice: to present a paper to a Private Art school International Conference and to present a summer school workshop for Unesco.

Funded by the Australia Council and the Australia-Korea Foundation.

Over the past twenty years, Rodney Glick has endeavoured to redefine the nature of his art by undertaking numerous collaborations and exploring non-traditional outlets. One example is the Glick International Collection, which, together with writer David Solomon, tested the high seriousness of art institutions and their emphasis on texts and the artist's biography. Ssamzie Space in Seoul, Korea was the host for the Glick's residency where he created a new multimedia and video work documenting daily activities of the local community within this cultural and urban context. The dual syncronised DVD projection is entitled 'LIFE plus TV' was exhibited at the Museum of Contemporary Art, Sydney in February, 2004.

Funded by the Australia-Korea Foundation, Arts WA, and the Australia Council. 

Michael Yuen is an artist and curator. Formally trained as a composer, Yuen's installation-based works use a combination of abstract sound, images and experimental interactive technologies in order to create artworks grounded in perceptual experience. Yuen has exhibited nationally, including receiving commissions to work with the Adelaide Festival of Arts, the Adelaide Train Station and the Australian Centre for the Moving Image. In 2006, Yuen was the Artistic Director for Project 3 at the Adelaide Festival of Arts. At Ssamzie Space, Seoul, Yuen developed a new series of sensory overload installations.

Supported by the Australia-Korea Foundation and Arts SA.

Media artists Kirsten Bradley and Nick Ritar make work within the creative partnership, Cicada. They produce public artworks, interactive installations, live audiovisual performances and projections for theatre and dance.  Ritar and Bradley used the residency to research and explore collective and individual behaviors within crowds throughout South Korea, via footage collection, audio field recording, extensive interviews and observation. Outcomes of the residency included the production of four new works and a two-week screening of eyes of other skies, a program of experimental video work by other Australian artists at the Seoul Fringe Festival and at the Gwang-ju Biennale.

Funded by the Australia-Korea Foundation and the Australia Council.

Painter/printmaker Yvonne Boag first went to Korea in 1993. During her residency she spent four months at The Chung Ju University.  Boag has since worked as a visiting Professor of Painting at Ewha University, Seoul and as a Professor at Seoul National University of Technology. In October 2005 a retrospective exhibition of Boag's work, inspired by ten years of engagement with Korea, was held at Stonnington Stables in Melbourne.

Funded by the Visual Arts Craft Board of the Australia Council and the Australia Korea Foundation.

Ash Keating is a multi-disciplinary visual artist who integrates environmental issues within his art strategies. These vary from process-based projects, public art, performance, video, painting, photography and installations. Recent projects include Parched (2007) in Melbourne and Pascua Lama (2006) in  Santiago, Chile. The focus of his residency at Ssamzie Space in Seoul involved being attentive to relevant environmental and ecological issues including exploring the aftermath and effects of the Heibei Spirit spilling 10,000 tons of oil off South Korea's west coast in late 2007. He aimed for the artwork to be unique and to raise awareness politically and environmentally.

Supported by Arts Victoria and the Australia Council.

Carlier Makigawa, one of Australia's foremost contemporary metal smiths, spent three months based at Kookmin University.  There she worked with students and also held seminars and lectures on Australian craft and metalwork. She held a one-person exhibition, Flower and Flame, at the Craft House Gallery and her work was included in a major Australian craft exhibition at the Seoul Arts Centre.  Both exhibitions received wide media coverage.

Funded by the Visual Arts Craft Board of the Australia Council.

Emil Goh completed an honours degree in Fine Arts from Sydney College of the Arts and a Masters degree at Goldsmiths College in London. Goh’s work can be described as the documentation of ephemeral urban phenomena. During his residency in Korea Goh was based at SSAMZIE Contemporary Art Space.  There he held two open studio days, started work on a new triple video projection installation and co-curated a screening of Australian & Korean videos called One Night Stand.  At the invitation of SSAMZIE Goh’s residency was extended for a further three months during which time he presented his videos & photographic work in a solo exhibition entitled entroducing at Factory Arts and Crafts, Seoul and was also invited to participate in the Busan Biennale at the Busan Metropolitan Art Museum from August to November 2004.

Funded by the Australia-Korea Foundation, the NSW Ministry for the Arts and the Australia Council.