To create her popular “Translated Vase” series, which originated during a 2001 studio visit in which she witnessed a potter destroying vases that were deemed flawed, the Korean artist sources discarded ceramic fragments and rearranges them into evocative, delicate shapes. For this series, she reconfigures the fragments into bulbous, personal forms by seaming them together with epoxy covered in 24-carat gold leaf—a nod to the Japanese art of kintsugi.