Piecing together discarded shards of porcelain, and marking joins and bare edges with lines of gold leaf, Korean artist Yeesookyung creates new shapes, often softly curved and anthropomorphic, occasionally jagged and alien. Her ceramic practice, which started with the “Translated Vases” series in 2006, has proved therapeutic for the artist, and the resulting works are profoundly, undeniably beautiful.

The third edition of Frieze New York, which returns to its gigantic white tent on Randall’s Island Park from May 9 through May 12, features a remarkable 18 exhibitors from Asia, including a smart mix of established and emerging galleries from Japan, Korea, China, India, United Arab Emirates, Lebanon, Israel and Turkey.

Gyun Hur is most known for her compositions of shredded silk flowers, meticulously arranged to mimic the patterns on her mother’s wedding blanket. In recent years, the Korean-born, Atlanta-based artist has moved away from this distinct motif, employing a new palate and turning the flowers—believed in Korea to drive out bad luck—into colorful mounds with objects, such as broken pottery, stone and plants, buried within each. The narrative quality of her installations extends into performance as well. While on residency at Artadia in Dumbo, New York, Hur staged a one day event, in which she and her father set up an optical store modeled after the actual store of the her childhood and invited audiences to peruse and interact with dozens of vintage glasses frames. Hur sat down with ArtAsiaPacific to discuss memories, process and the importance of family.

A look at two critically lauded South Korean films in which an elderly woman is the sole protagonist. 

Circle of Confusion is a weekly pick of photography from ArtAsiaPacific’s areas of coverage.