Solo Exhibitions

2016 Dear Life, Gallery Sklo, Seoul, Korea

2014 Circle, Square, Sikijang, Seoul, Korea

2014 Circle, Square, Gallery Le Beige, Seoul, Korea

2013 Vessels, Sikijang, Seoul, Korea

2012 Glass Feather, Gallery Sejul, Seoul, Korea

2009 Kim, Ki-Ra Glass Show, Damum, Budang, Korea

2008 Glass Art & Living Object Story, S Gallery, Misari, Korea

2007 Ki-Ra’s Glass Vessels, Seomi& Tuus, Seoul, Korea

2003 Kim, Ki-Ra Glass Show, Craft-House, Seoul, Korea

2003 Kim, Ki-Ra Glass Show, Seomi Art, Seoul, Korea

1999 Kim, Ki-Ra Glass Show, Art Museum of France In, Kangwha, Korea

1997 Kim, Ki-Ra Glass Show, Yemac Gallery, Seoul, Korea

1996 Kim, Ki-Ra Glass Show, Yemac Gallery, Seoul, Korea

1991 Kim, Ki-Ra Glass Show, Gallery Bing, Seoul, Korea

1989 Kim, Ki-Ra Glass Show, Growrich Gallery, Seoul, Korea

Group Exhibitions

2016 Contemporary Glass-Mold, Sukdang Art Museum, Busan, Korea

2015 Glass, Journey to Gyeong-Ju, Gyocheon glass studio, Gyeong-Ju, Korea

2015 Fluid Dialogue between ROK & Japan, Mac Art Museum, Daebudo, Korea

2015 [Bowl] Korea-Sweden Contemporary Craft Exhibition, Vogoze, Seoul, Korea

2015 Daily Life, Gallery Ilsang, Seoul, Korea

2014 We are working now, Chuncheon City Museum, Chuncheon, Korea

2014 Behind Door, Mac Art Museum, Daebudo, Korea

2014 Tent London, London, UK

개인전

2016 Dear Life, 갤러리 스클로, 서울

2014 동그라미, 네모, 갤러리 르베이지, 완물취미, 서울

2013 그릇전, 완물취미, 서울

2012 김기라의 유리깃털전, 갤러리 세줄, 서울

2009 일상생활, 담음 갤러리, 분당

2008 Glass Art & Living Object Story, S- Gallery, 미사리

2007 김기라 유리그릇전, 서미앤투스, 서울

2003 김기라 유리작품전, 크래프트하우스, 서울

2003 김기라 개인전, 서미아트, 서울

1999 김기라 유리작품전, 미술관 프랑스 인, 강화

1997 김기라 생활유리전, 예맥화랑, 서울

1996 김기라 유리작품전, 예맥화랑, 서울

1991 김기라 유리작품전, 갤러리 빙, 서울

1989 김기라 유리작품전, 그로리치 화랑, 서울

단체전

2016 현대유리조형의 오늘, 동아대학교 석당미술관, 부산

2015 유리, 경주로의 여행, 교촌유리공방, 경주

2015 2015 한. 일 유리조형 교류 전, 맥 아트미술관, 대부도

2015 보울-영혼의 그릇, 보고재, 서울

2015 일상에서의 초대, 갤러리 일상, 서울

2014 현대조형 전, 맥 아트미술관, 대부도

2014 Tent London, 영국

In my earliest glassworks I was concerned with the meeting points between the illusory and the real, which can be represented through drawing and sculptural works respectively. I was curious about relationship between and combination of two and three-dimensional representations of objects. I was fascinated by the possibilities of rearranging objects and ideas through the Cubist perspective.

Afterwards, I tried to resolve within my works, in irregular and cubistic ways, the essentially philosophical questions about the deaths of beloved people, about me living a daily life yearning for nature but at the same time thinking abstractly. Often times, I find that objects in everyday life like apples, bottles, cups, bowls, and houses are metaphors through which the duality of glass can be naturally represented. I found the duality of glass very similar to the two-sidedness that can be found in men and natural phenomena. Visible world and Invisible world, Temporariness and Eternity, Filling and Emptying, Light and Darkness, Strong and weak, these two opposing characteristics are natural motifs for representations with glass that has transparency and translucency at the same time. I realize that these two opposing forces are Yin and Yang in Oriental philosophy. This philosophy teaches that the harmony between two opposing forces makes objects and people perfect and beautiful.

I focused on making a series of houses since 2003 when my mom and dad passed away. Everyday objects that are natural but not artificial live in my glassed houses. The glass house where I live is the middle space between heaven and earth. Therefore, the house always has to be natural and contains the meanings of nature.’

I have created many houses for some time: some with transparency and openness which allow the penetration into the inside; others with opaqueness and secrecy which refuse the penetration.  Thus the house series has been metaphorical.  It might be the collision of the subconscious, which wants not to be revealed, and the conscious, which wants to confide. 

Although translucent glass houses have their own solidity and order for their presence respectively, they penetrate into each other, melting as one sometimes.  On the other hand, remaining emptiness in the disappeared space deepens the traces of the existence ironically.  Whether houses remain as one with penetration into each other, or illusion and reality coexist, they are not one and can’t be, either.  A house, a home or a family, is one, but mustn’t be one as I myself, my dream and my reality are one, but at the same time mustn’t be one.  Why is that?  Because they respect each other and should do so.  Because it’s ‘Dear Life.’