Korean-born New York based artist Sun K. Kwak makes the invisible visible using a surprisingly simple medium: black masking tape. Through a process infused with an element of performance, Kwak channels surrounding energy to manifest a movement of lines, liberating the space and transforming it into a new pictorial reality. For the "Phantoms of Asia" exhibition at the Asian Art Museum (on view from May 18-September 2, 2012), Kwak creates a site-specific installation for the museum's North Court, which will not be seen again after the exhibition closes.

Heman Chong imagines a future of dystopian stillness with "Calendars (2020--2096)," an installation of 1001 photos, each a calendar page capturing a moment of complete emptiness in today's bustling areas of Singapore. View this work for yourself at the Asian Art Museum during the exhibition, "Phantoms of Asia: Contemporary Awakens the Past" (on view from May 18-September 2, 2012). For more information: http://www.asianart.org/phantoms

Woodworker Randy O'Donnell demonstrates how the knee of an 18th century Newport chair would have been carved.

Woodworker Randy O'Donnell demonstrates how to carve the claw and ball foot on an 18th century Newport chair.

Woodworker Randy O'Donnell demonstrates how he wove the seat and created the mortise and tenon joints for Chipstone's reproduction Nearpass Chair. O'Donnell uses 18th century techniques and tools to create his work.

Min Jeong Song studies ornamental styles across time periods and geography, and her work explores how certain attributes of glass can be used to create ambivalent objects: objects that don't belong to pre-existing stylistic classifications. She is especially interested in cross-cultural stylistic developments between East Asia and Western Europe, a topic she explored during a month-long residency at The Corning Museum of Glass. Song holds a master's of fine art in glass from the Rhode Island School of Design and is currently pursuing a Ph.D. in glass at the Royal College of Art.

Amie McNeel came to The Studio of The Corning Museum of Glass as part of the joint Artists-in-Residence partnership with the John Michael Kohler Arts Center. A sculpture professor for 20 years, McNeel is inspired by the formal symmetries of natural systems, which can be both subtle and severe, uniform and chaotic. She has recently begun incorporating blown and carved glass into her hand-formed steel sculptures.

Beth Lipman is known for her works in glass that generally pay homage to still-life paintings from the 17th to the 20th centuries. Continuing her exploration of material culture as a means to understand desire and consumption, she investigated and recreated Victorian decorative arts during her Studio residency, juxtaposing common 19th-century domestic objects with their contemporary counterparts. Lipman was the April, 2011, Artist in Residence at The Studio, the glassmaking school of The Corning Museum of Glass.