I was raised up on a little island without electricity where I got used to watching the sunrise and sunset every day.
Living on the island I opened my mind to all sorts of natural objects such as: mountains, sea, fields, and eventually I fell for the clay and fire. I have been doing my study in art with painting and playing with nature. From there I have learned the characteristic of clay and I was attracted to its power of liveness and vigor. This has made me focus my interest on ceramics.
‘Onggi’ are Korean ethnic earthenware, which was extensively used as tableware as well as storage containers in Korea. I had a memorable experienced when I was a freshman at the University, it was an onggi workshop. The master of onggi, who made a big pot around 1m 50cm. I was overwhelmed by making giant onggi at once. At first I was simply attracted to technique, however as I worked with master crafts people for many years, I learned of my country’s history, culture, and even life overall. I was trained not only technically but also spiritually, for I gained the wisdom of life and life-altering experience.
To find my own way, I worked at various ‘Onggi’ factories and ceramics studio as to understand the art of blue celadon, white porcelain and bunching ware. That was when I started to secure a strong footing in the field of Korea’s traditional pottery. I though the tradition was where I could truly find my identity. It seemed a clear guidance to me. There, I happened to seize the moment to think about my identity and art views as I exchanged the way of thinking, life, and values with many artists and workers.
My desire is to find and develop my aesthetic sense by focusing on the relationship of the old and the new. The interest in this relationship is getting wider and wider until it reaches human, nature, and space. Until now, a lot of effort and time were spent for develop my works, yet I want to create more inspirational and touching works that integrate both technique and ideas through ceaseless efforts while developing my artistic views and values.
I tasked myself with the job of creating a new hand-built vessel of mask daily. The works, in accumulation act as a type of diary or as a call “to listen to my inner voice.” My works explore identity and psychological conditions through the processes of making and daily life.
I was raised up on a little island without electricity where I got used to watching the sunrise and sunset every day.
Living on the island I opened my mind to all sorts of natural objects such as: mountains, sea, fields, and eventually I fell for the clay and fire. I have been doing my study in art with painting and playing with nature. From there I have learned the characteristic of clay and I was attracted to its power of liveness and vigor. This has made me focus my interest on ceramics.
‘Onggi’ are Korean ethnic earthenware, which was extensively used as tableware as well as storage containers in Korea. I had a memorable experienced when I was a freshman at the University, it was an onggi workshop. The master of onggi, who made a big pot around 1m 50cm. I was overwhelmed by making giant onggi at once. At first I was simply attracted to technique, however as I worked with master crafts people for many years, I learned of my country’s history, culture, and even life overall. I was trained not only technically but also spiritually, for I gained the wisdom of life and life-altering experience.
To find my own way, I worked at various ‘Onggi’ factories and ceramics studio as to understand the art of blue celadon, white porcelain and bunching ware. That was when I started to secure a strong footing in the field of Korea’s traditional pottery. I though the tradition was where I could truly find my identity. It seemed a clear guidance to me. There, I happened to seize the moment to think about my identity and art views as I exchanged the way of thinking, life, and values with many artists and workers.
My desire is to find and develop my aesthetic sense by focusing on the relationship of the old and the new. The interest in this relationship is getting wider and wider until it reaches human, nature, and space. Until now, a lot of effort and time were spent for develop my works, yet I want to create more inspirational and touching works that integrate both technique and ideas through ceaseless efforts while developing my artistic views and values.
I tasked myself with the job of creating a new hand-built vessel of mask daily. The works, in accumulation act as a type of diary or as a call “to listen to my inner voice.” My works explore identity and psychological conditions through the processes of making and daily life.