Jung Ki Min ᱨᱮᱱᱟᱜ Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ)

Jung Ki Min ᱨᱮᱱᱟᱜ Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ) ᱫᱚ ᱜᱟᱦᱱᱟ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2026 A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱠᱟᱥᱟᱜᱟᱦᱱᱟ· 2026

Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ)

Jung Ki Min ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱱᱟ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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#182523 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ) ᱵᱟᱵᱚᱛ ᱛᱮ

ᱜᱽᱨᱮᱴ ᱵᱞᱩ ᱦᱚᱞ ᱫᱚ ᱢᱤᱫ ᱦᱤᱥᱤᱨ ᱠᱟᱱᱟ, ᱡᱟᱦᱟᱸ ᱫᱚ ᱵᱮᱞᱤᱡᱽ ᱨᱮᱱᱟᱜ ᱚᱱᱠᱟᱱ ᱧᱩᱛᱩᱢᱟᱱ ᱫᱚᱨᱮᱭᱟ ᱥᱤᱸᱠᱦᱚᱞ (marine sinkhole) ᱠᱷᱚᱱ ᱩᱭᱦᱟᱹᱨ ᱦᱟᱛᱟᱣ ᱟᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱰᱤᱡᱟᱭᱤᱱ ᱫᱚ ᱢᱤᱫ ᱢᱟᱨᱟᱝ ᱯᱨᱟᱠᱨᱤᱛᱤᱠ ᱫᱮᱥᱚᱢ ᱫᱮᱠᱷᱟᱣ (landscape) ᱦᱚᱨᱢᱚ ᱨᱮ ᱦᱚᱨᱚᱜ ᱫᱟᱲᱮᱭᱟᱜ ᱢᱩᱨᱛᱤ ᱞᱮᱠᱟᱱ ᱨᱩᱯ ᱛᱮ ᱵᱚᱫᱚᱞ ᱟᱠᱟᱫᱟ᱾ ᱟᱭᱢᱟ ᱛᱷᱚᱠ ᱨᱮᱱᱟᱜ ᱢᱮᱰ ᱦᱟᱹᱴᱤᱧ ᱠᱚ ᱫᱚ ᱟᱭᱢᱟ ᱡᱤᱞᱤᱧ ᱨᱮᱱᱟᱜ ᱛᱟᱨ ᱪᱮᱛᱟᱱ ᱨᱮ ᱨᱟᱠᱟᱵ ᱟᱠᱟᱱᱟ, ᱡᱟᱦᱟᱸ ᱛᱮ ᱰᱟᱭᱢᱮᱱᱥᱚᱱ ᱨᱮᱱᱟᱜ ᱵᱷᱚᱞᱭᱩᱢ ᱟᱨ ᱰᱮᱯᱛᱷ ᱛᱮᱭᱟᱨ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ᱾ ᱨᱩᱯ ᱟᱨ ᱪᱮᱛᱟᱱ ᱨᱮᱱᱟᱜ ᱴᱮᱠᱥᱪᱚᱨ ᱵᱮᱱᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱥᱚᱭᱤᱝ (sawing), ᱠᱟᱥᱴᱤᱝ (casting), ᱮᱱᱟᱢᱮᱞᱤᱝ (enameling), ᱥᱴᱚᱱ ᱥᱮᱴᱤᱝ (stone setting), ᱪᱮᱭᱤᱝ (chasing) ᱟᱨ ᱨᱮᱯᱩᱥᱮ (repousse) ᱠᱚ ᱵᱮᱵᱷᱟᱨ ᱦᱩᱭ ᱟᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱦᱤᱥᱤᱨ ᱨᱮᱱᱟᱜ ᱚᱥᱟᱨ ᱫᱚ 130 mm, ᱰᱮᱯᱛᱷ 15 mm ᱟᱨ ᱩᱥᱩᱞ 75 mm ᱠᱟᱱᱟ, ᱟᱨ ᱢᱩᱛᱤ (pearl) ᱵᱟᱭᱦᱟᱨ ᱫᱚ 450 mm ᱠᱟᱱᱟ᱾ ᱦᱚᱨᱢᱚ ᱨᱮᱱᱟᱜ ᱪᱟᱞᱟᱣ ᱛᱮ ᱛᱷᱚᱠ ᱠᱚ ᱪᱮᱛᱟᱱ ᱨᱮ ᱢᱟᱨᱥᱟᱞ ᱫᱚ ᱵᱚᱫᱚᱞᱚᱜ ᱠᱟᱱᱟ᱾

ᱢᱟᱱᱟᱱ

A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ) ᱫᱚ A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱱᱟᱣᱟ ᱵᱷᱟᱵᱱᱟ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Great Blue Hole ᱦᱤᱥᱤᱨ (ᱢᱟᱞᱟ) ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: This piece reinterprets a monumental marine formation as a wearable sculptural structure through layered metal construction and dimensional assembly. Its distinction lies in translating vast geological space into an intimate bodily dimension, where organic irregularity is balanced with controlled craftsmanship to create a tactile landscape experience.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: Width 130 mm x Depth 15 mm x Height 75 mm
Pearl string length 450 mm
ᱴᱮᱜ ᱠᱚ: silver, necklace, jewelry, natural
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: This work involved selecting materials corresponding to the site's visual and spatial characteristics and conducting extensive texture studies. Test pieces were produced to experiment with varied surface treatments and forms. To achieve the desired atmosphere within a limited scale, appropriate techniques were carefully selected. In addition to piecing and sawing, casting, enameling, stone setting, chasing, and repousse were employed. Components were elevated using wires of varying lengths to create dimensional volume and layered depth.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: The primary challenge was developing a structural system capable of integrating diverse elements into a cohesive form. To achieve the intended atmosphere, careful planning was required for stone placement, setting techniques, and layering. Establishing the correct order of fabrication was critical. Through extensive trial and error, I refined the composition so that each element could coexist harmoniously while retaining its individual presence.
ᱜᱚᱵᱮᱥᱚᱱᱟ: This project represents a research process aimed at translating distinctive natural landscapes and geological formations into the form of jewelry. Through the harmonious arrangement of diverse materials and techniques, I experimented to determine the optimal color relationships, proportions, and structural balance that could effectively convey the site's atmosphere and defining characteristics. The research also explored multiple approaches to articulating organic forms within a controlled metal framework, seeking methods to express natural irregularity with clarity and precision.
ᱯᱨᱮᱨᱚᱱᱟ: Inspired by the Great Blue Hole in Belize, I was drawn to its ultramarine depth and the diverse ecosystems surrounding it. Through visual research and material experimentation, I sought not only to extract its visual characteristics but also to convey the site's atmosphere and sense of mystery. By combining various materials and metalworking techniques, I harmoniously translated a distant, life filled marine environment into an intimate wearable scale.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: The project started in August 2018 in New York, USA, and was completed in May 2019.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: Due to its layered colors and condensed elements, the piece offers tactile detail and visual richness to both wearer and viewer. As the body moves, shifting light and depth create subtle variations in perception, inviting closer observation. By bringing a distant landscape into intimate proximity, the work provides a subtle sense of refreshment.
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Image #1: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #2: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #3: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #4: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #5: Photographer Jung Ki Min, Great Blue Hole, 2019.