It is no exaggeration to say that the enamel, so-called the Art of Fire, occupies a huge part of Jewelry history from ancient Egypt to the present. The enamel - its color is deeper than glass and it is complementing the color limits of the metal – had a lot of influence on my jewelry work. When I first learned about the enamel, I made jewelry using various techniques. But especially cloisonné was so fascinating to me because I could visualize the story by using the technique.

However, most people had a prejudice that cloisonné looks old and outdated. I was very sorry for the pessimistic reaction of those who do not know the history and merits of cloisonné. "How can I express my jewelry so that people can approach cloisonné easily?" was the beginning of my work.

The Byzantine-era cloisonné was made in Christian style. Christianity was the daily life of people at the time, and cloisonné, which contains the contents of Christian doctrine, was friendly to people. And it made me think of the motif of everyday life. Daily life is the space where I am now. It is familiar, so I thought it to be a subject that everyone can easily relate to. I thought this empathy could easily explain to people that cloisonné is not old.

I began to observe to express my daily life. At first, I observed from me and my friends to others. I filmed, recorded, and painted people. I wrote about my little daily life, which was nothing special, such as sleepless myself, one of my friends holding back tears, my mother writing a diary, and someone waiting for a friend on the street.

At first, I expressed only the outward appearance. But I wanted to express those feelings in more detail. It is very difficult to express one's feelings via jewelry. The advantage of cloisonné is that it can also express the line in detail. I tried to express things like the looks and language of their fingers with metal lines and capture them on my jewelry as much of the everyday expression and the emotion I could feel in them.

I started working at the height of the line higher than the enamel, hoping that the feeling would become more prominent in the expression of the line. I wanted to express our daily lives and emotions with lines, not just the role of metal lines to divide the color of enamel. So I used simple colors. The line seemed free from enamel.

A daily routine is one in which small pieces are gathered and completed, but it will never be completed. So my jewelry is the most atypical shape. This is because everyday life cannot be defined typically.

I tried to resolve these prejudice by forming a consensus by carving a part of our lives in cloisonné jewelry. Furthermore, I hope that people can look at their daily lives from a different perspective as they pass by casually in a busy modern society while appreciating the jewelry symbolizing their daily lives. I wish they could feel that every single day is full of novelty, though it seems to repeat itself every day.


Kookmin University _ Master of Design (Metal&Jewelry Design)

Wonkwang University _ Bachelor of Arts in Art (Department of Jewelry and Design)


Seoul Art Space_Sindang, Resident artist _ February 2020 – Present

SINAE JEWELRY STUDIO _ February 2020 – Present

Wonkwang University, Instructor _ March 2018 - August 2020

MJC Vocational Training College, Instructor _ August 2010 – Present


2021 <Companion Craft>, Insa-dong KOTE, South Korea

2021 <JOYA Barcelona Art Jewellery&Obects>, Barcelona, Spain

2021 <Romanian Jewelry Week>, Bucharest, Romania

2021 <LA ART SHOW2021>, LA Convetion Center, Los Angeles, United States of America

2021 <Now, we craft Kimyo 2021 #3>, Artist Run Space_Kimyo, South Korea

2020 Craft Trend Fair <Cloisonne Jewelry in Daily Life>, COEX, South Korea

2020 <Therapeutic agent>, Insa-dong KOTE, South Korea

2020 <Hello, We>, SASS Gallery, Seoul, South Korea

2020 <Sanwoollim art&craft Young Artist Exhibition>, Sanwoollim art&craft, South Korea

2020 <Friedrich Becker Prize 2020>, Deutsches Goldschmiedehaus Hanau, Germany

2020 <Friedrich Becker Prize 2020>, Stadtmuseum Düsseldorf, Germany

2019 <Collectiva Meeting International Jewellery Exhibition>, Portugal

2019 Craft Week <Atelier Jewelry>, Gallery Sowyen, South Korea

2019 <Spring Butterfly Exhibition>, Gallery Sowyen, South Korea

2017 Solo Exhibition, <Daily Life SINAE×Common>, South Korea

2017 <ITAMI International Jewellery Exhibition>, ITAMI Museum, Japan

2017 <Beijing International Jewelry Art Exhibition>, BIFTPARK, China

2016 Craft Trend Fair <Studio T+D>, COEX, South Korea

2016 <New Breeze>, Bupyenog History Museum, South Korea

2015 Craft Trend Fair <Alchemist, Spring Summer Fall, Winter>, COEX, South Korea


2019 Winner, Autor Media Award at Collectiva Joalharia de Autor, Portugal

2019 Certificate of Best Goods, International Jewelry Design Contest, South Korea

2017 be selectied, ITAMI International Jewellery Exhibition, Japan

2015 Designer’s Excellence Award, International Jewelry Design Contest, South Korea

2014 Designer’s Excellence Award, International Jewelry Design Contest, South Korea

2013 be selected, The 14th Korea Craft Contest, South Korea

2009 The fourth, World Skills Korea (Seoul), South Korea

Publication & Interview

2021 Monthly ESSAY interview 'SINAE BAIK, Metal Craft Artist', South Korea

2021 Art&Design Work&People interview 'SINAE BAIK, Metal Craft Artist', South Korea

2020 Alba Longa Contemporary Jewellery Book, Vienna, Austria

2020 Seoul foundation for arts and culture, Cover story, South Korea

2019 AUTOR Contemporary Jewelry interview ‘SINAE, BAIK – Que Sera, Sera.’, Bucharest, Romania

2018 Teaching material book 「Life Culture Design」, Wonkwang University, South Korea

2017 Writing a master´s thesis 「Daily life with Cloisonne」, Kookmin University, South Korea

2016 AUTOR Magazine(Contemporary Jewelry Magazine) #3, Bucharest, Romania