In Korean, the word “geum” means both “crack” and “gold.” In this monumental sculpture, Yeesookyung poetically engages this homonym, using the precious metal to assemble discarded shards of reproduced inlaid celadon wares. Her fascination with fragments came after she witnessed a Korean master potter destroying works he deemed imperfect. Since then, she has repurposed ceramic refuse, seeing her gold-seamed constructions as a “glorification of the fateful weakness of being.” Her work unintentionally evokes kintsugi, the reverential Japanese art of repairing broken ceramics with lacquer and gold. As these exquisitely restored Korean vessels demonstrate, the centuries-old practice beautifully embraces the evidence of damage.