Jaeyeon Park

Jaeyeon Park, <Tennis>, <Ski>
Epoxy clay, Found object, 2022

Jaeyeon Park is a Sculptor who mainly deals with found objects to make installation-based art containing a story. Park received his BFA at the University of Seoul, South Korea in 2018 and his first MFA at the Cranbrook Academy of Art in 2021. He is interested in creating environments that embody a story, other worlds through an image-based narrative using the composition of physical objects and installation. Park has exhibited in the US, Italy, France, and South Korea and has been featured in Wallpaper, Elle Decor, and Dwell magazines. Park is current MFA candidate in the Sculpture Department at Cranbrook Academy of Art, Class of 2024.


2022~2024 (Current)
Master of Fine Arts Candidate, Department of Sculpture,
Cranbrook Academy of Art, USA

2021 (May)
Master of Fine Arts, Department of 3D Design,
Cranbrook Academy of Art, USA
2018 (Feb)
Bachelor of Fine Arts,  Industrial Design,
The University of Seoul, South Korea


Mold Making, Forum Gallery, Cranbrook Academy of Art, Bloomfield hills, Michigan, USA

Confluence-International Student Exhibition, Forum Gallery, Cranbrook Academy of Art, Bloomfield hills, Michigan, USA

(Solo exhibition) Rat & Bee, Space Pado, Seoul, Korea  

This is America, Hello Human x ADITIONS, Alvoca, Milan, Italy

Launchpad, ICFF&Wanted Design Manhattan, New york, USA

Launchpad, ICFF&Wanted Design Manhattan, New york, USA
Cranbrook Chair Show, At Jack Craing studio, Detorit, Michigan, USA
Graduate degree exhibition of Cranbrook Academy of Art,
Cranbrook Art Museum, Bloomfield hills, Michigan, USA

Open Studio <I had wanted to give a full answer and explain everything, but…>, Hwang gum building, Seoul, Korea
Ideal home, Forum gallery, Cranbrook Academy of Art, Bloomfield hills, Michigan, USA
Killing the Chair, 4LOG Art space, Seoul, Korea
2018 (Sep)
1000 Vases, Espace commines, Paris, France
2018 (2017 Dec~2018 Jan)
Good bye Hello, THE FOLK gallery, Seoul, Korea
2017 (Nov)
#ffffff Bachelor degree show, Red brick gallery, Seoul, Korea
2012 (Apr)
Puberty, YOZM gallery, Seoul, Korea


A Return To Milan, Elle decor(Italy)

Milan design week 2022: Everthing elle decor editors loved this year
, Elle decor
9 highlights from Fuorisalone and Salone Del Mobile at Milan Design Week, Scandinavianmind

Salone del Mobile 2022: Where to Go and What to See During Milan Design Week, Architecturaldigest
Color, Craft and Comfort at Milan Design Week, The New York Times


Milan Design Week 2022, As the design industry’s annual festival returns in full splendour - TDE brings you the highlights, The design edit magazine
This is America: 15 diverse design practices shine in Milan, Wallpaper*
The HYPEBEAST Guide to Milan Design Week 2022, HYPEBEAST

CN231—This week on Cargo

Announcing WantedDesign Manhattan’s Launch Pad 2022 Participants
, Design Milk
TDE’s top picks from the New York platform for emerging designers, The design edit magazine
8 unmissable emerging designers from WantedDesgin Manhattan, The bruno effect

Design’s Unruly, Organic, and Wild year a dispatch from NYX x Design, Curbed(New York magazine)

Ideas in Orbit at Launch Pad, Designer pages media
Cranbrook Academy of Art:Design MFA graduates 2021, Artthread
Discover the 2020 Launch Pad Design Studios, Presented by WantedDesign Manhattan, Design Milk
2012 (Jun)
“Live a dream”, Co author, Indigo seowon, Busan, Korea


Cranbrook Academy of Art Scholarship, CAA Merit Scholarship


2021 (Sep~)
Assistant Preparator, Cranbrook Art Museum, Bloomfield hills, Michigan, USA

2021 (2020 Mar~2021 Mar)
Department assistant of 3D Design, Cranbrook Academy of Art, 
Bloomfield hills, Michigan, USA
2020 (May~Aug)
Studio assistant for sculptor Bahk Seonghi, Ansung, South Korea


“I'm interested in creating environments that embody a story. My practice's goal is to make another world through image-based narratives using the composition of physical objects and installation. My inspiration for my installations comes from the books I read. The stories I often read were written by Albert Camus, Franz Kafka, Milan Kundera, and Murakami Haruki. Their stories have stuck with me and continue to live on in my work.

The main topic of my work is the subject of a human abyss. This is not a scary or terrifying thing, but it's a deep abyss of the mind and the core of the human. I'm curious what is underneath the human psyche. I want to make time and space for facing it.

I want my work is to meld real-life experiences and surreal settings. Inspired by fictional stories, I'm writing my own fantastical narratives using objects and creating environments and spaces, rather of words. When the audience steps into this worlds that I make, they enter a deep cave and find a story via clues within objects.  

In my making process, I mainly use tactile material, which often makes sculptures by touching it with hands. I also use ready-mades, a technique that applies existing objects to art. My work is mainly created by mixing those two things, and the final result is usually expressed as an object and installation in space. Using the tactile material, I want to express abstract mind flutters with atypical shapes and abstract and ambiguous figurations. And the found objects convey real life, using items that already exist in reality. I want to face essential parts of human life by moving back and forth between abstraction and non-abstraction.

When it comes to working methods, when a particular topic comes to mind, I first think of the story and meaning I want to convey. And I draw an ambiguous finished image in my mind. After making only the big outline and concept of the work, I work in a big frame in an instant way. In the course of the work, I often get a formative results that differ from what I initially expect, and things that I couldn't think of semantically, I add or expand upon and transform.”

(Text: Jaeyeon Park, 2021)

“His works start from the objects that have been abandoned, unattended, borrowed, or secondhanded and sold back. Therefore, the process towards the creation is a interminable movement in both directions, willingly subordinated to the distinct elements remaining in the original object and at the same time trying to deconstruct it. Through archiving scattered objects and bizarrely blending incongruity and infelicity, his formative work pauses for a moment in line with the 'date of the exhibition' and the 'moment of exhibition' without an exact moment of completion. He stands the question of authentic form or authentic meaning between the unfinished object, the passage of time, and the spectator.”

(Text: Yeowool Yoon, translated by Sungeun Won, 2022)