Byoungchan Yun

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Byoungchan Yun (*1993) is a Korean designer working in the Czech Republic, where he specializes in working with Czech crystal. He comes from the city of Uijeongbu in South Korea, where he studied product design. In 2019, he moved to Prague to study glass in greater depth at the Academy of Arts, Architecture and Design in the studio of Rony Plesl. Inspired by the contrasts between traditional Oriental order and the contemporary fluidity of Korean culture, he combines precision in design with the poetics of natural forms and light in his work. He works at the Dechem studio, and his Blooming Light object was recognized in the Preciosa Master of Crystal competition. He has presented his work at Designblok in Prague, among other venues. Byoungchan Yun’s work is characterized by a deep connection between spiritual, cultural, and material levels. In his work, he combines Korean tradition with European intellectual heritage and Czech glassmaking craftsmanship, creating objects that transcend the boundaries of ordinary design and enter the realm of ritual, meditation, and everyday spiritual experience. One striking example of Yun’s approach is the Kiwa Glass collection, inspired by the arches of traditional Korean roofs made of kiwa tiles—symbols of protection, order, and connection to the heavens. The glasses, precisely blown by Czech masters, bear traces of craftsmanship and historical continuity. Another original design is a series of glasses bearing biblical verses. Byoungchan transforms these seemingly ordinary objects into carriers of spiritual content – the simple form of an everyday item becomes an instrument of inner calm and a reminder of words that are easily lost in the whirlwind of modern life. The glasses function as silent prayers that accompany people in everyday situations. Another line of his work draws on the traditional Korean ritual of jesa – a ceremony in which respect is paid to deceased ancestors. For this purpose, he designs ritual glass vessels that combine respect for ancestors with modern artistic language. With these objects, he raises the question of how contemporary design can revive forgotten or marginalized spiritual practices and transfer them to the present through new forms and materials. Last but not least, his work is remarkable for its ability to transform traditional intellectual references into contemporary aesthetic gestures—for example, in his design for eyeglasses inspired by Jan Amos Comenius’s work The Labyrinth of the World and the Paradise of the Heart. This completely innovative fashion accessory becomes a wearable manifesto in which introspective philosophy meets the poetics of vision – both optical and spiritual. Glasses are not just a functional object, but a means of seeing the world in a new way – through the symbolic prism of Comenius’ humanism and the desire for inner paradise. In his work, Byoungchan Yun systematically connects design with cultural memory and the spiritual function of an object. Whether he is creating moonjars from Czech crystal inspired by Korean tradition, everyday objects with a message, or ritual vessels for commemorating the dead, his work is based on a deep respect for the material, tradition, and personal experience.

Byoungchan Yun (*1993) is a Korean designer working in the Czech Republic, where he specializes in working with Czech crystal. He comes from the city of Uijeongbu in South Korea, where he studied product design. In 2019, he moved to Prague to study glass in greater depth at the Academy of Arts, Architecture and Design in the studio of Rony Plesl.

Inspired by the contrasts between traditional Oriental order and the contemporary fluidity of Korean culture, he combines precision in design with the poetics of natural forms and light in his work. He works at the Dechem studio, and his Blooming Light object was recognized in the Preciosa Master of Crystal competition. He has presented his work at Designblok in Prague, among other venues.

Byoungchan Yun’s work is characterized by a deep connection between spiritual, cultural, and material levels. In his work, he combines Korean tradition with European intellectual heritage and Czech glassmaking craftsmanship, creating objects that transcend the boundaries of ordinary design and enter the realm of ritual, meditation, and everyday spiritual experience.

One striking example of Yun’s approach is the Kiwa Glass collection, inspired by the arches of traditional Korean roofs made of kiwa tiles—symbols of protection, order, and connection to the heavens. The glasses, precisely blown by Czech masters, bear traces of craftsmanship and historical continuity. Another original design is a series of glasses bearing biblical verses. Byoungchan transforms these seemingly ordinary objects into carriers of spiritual content – the simple form of an everyday item becomes an instrument of inner calm and a reminder of words that are easily lost in the whirlwind of modern life. The glasses function as silent prayers that accompany people in everyday situations.

Another line of his work draws on the traditional Korean ritual of jesa – a ceremony in which respect is paid to deceased ancestors. For this purpose, he designs ritual glass vessels that combine respect for ancestors with modern artistic language. With these objects, he raises the question of how contemporary design can revive forgotten or marginalized spiritual practices and transfer them to the present through new forms and materials.

Last but not least, his work is remarkable for its ability to transform traditional intellectual references into contemporary aesthetic gestures—for example, in his design for eyeglasses inspired by Jan Amos Comenius’s work The Labyrinth of the World and the Paradise of the Heart. This completely innovative fashion accessory becomes a wearable manifesto in which introspective philosophy meets the poetics of vision – both optical and spiritual. Glasses are not just a functional object, but a means of seeing the world in a new way – through the symbolic prism of Comenius’ humanism and the desire for inner paradise.

In his work, Byoungchan Yun systematically connects design with cultural memory and the spiritual function of an object. Whether he is creating moonjars from Czech crystal inspired by Korean tradition, everyday objects with a message, or ritual vessels for commemorating the dead, his work is based on a deep respect for the material, tradition, and personal experience.

Artist's exhibitions

Liquid Tension

Jan. 22, 2026 - May. 3, 2026
Byoungchan YunLucie Jindrák Skřivánková
In the exhibition Liquid Tension, two distinctive creative personalities converge: Byoungchan Yun, a Korean designer working between Seoul and Prague, and Lucie Jindrák Skřivánková, a Czech painter and multimedia artist known for her large-scale paintings, murals, and textile objects.

Each approaches their medium—glass and painting—from different cultural and material backgrounds. Yet, in this exhibition, they create a shared space where form and fluidity, past and present, intertwine.

We live in an era that strives to name, grasp, structure, and categorize everything. In a society yearning for control—over time, the body, nature, and emotions. However, precisely where logic falls short and precision meets its limits, the realm of art begins. The exhibition Liquid Tension emerges as a quiet resistance to this pressure. It celebrates tension and harmony, spontaneity and form. 

The collaborative project by Byoungchan Yun and Lucie Jindrák Skřivánková is the result of a long-term dialogue between two cultures, two approaches to material and creation. Both artists find inspiration in each other’s countries—Yun in the Czech Republic, Skřivánková in South Korea. This cross-border interest goes deeper than mere aesthetic fascination—it embodies mutual listening, openness to otherness, and embracing tension as a form of sharing. 

The central object of the exhibition is a reinterpretation of the traditional Korean moon jar, which here becomes a bearer of shared form. Glass, designed by Byoungchan Yun and blown by Czech glass masters, meets the painting of Lucie Jindrák Skřivánková, which flows spontaneously across its surface, settling, resisting control. Her paintings arise without the use of a brush, through gravity, chance, and trust in a process that cannot be fully directed. This approach serves as a counterbalance to Yun’s design precision, who nonetheless seeks fragility, subtlety, and tension in his work. 

Liquid Tension is not just the title of the exhibition—it is the principle upon which the entire project stands. It embodies the tension between form and fluidity, between control and release, between two creators who have met in a space of mutual respect. 

The exhibition was created with the support of the Ministry of Culture and the State Fund for Culture.