Core Connection: Korean Ceramics
SooJong Ree, Jung Do Lee, Inchin Lee, KangHyo Lee, SungJae Choi, Sunkoo Yuh
October 17 - November 7, 2015
Twenty Eight times Solo Exhibitions in Seoul, Pusan (Korea, South), New York, Fukuoka (Japan) and more.
Selected Collections include:
National Art Museum of China (Beijing, China)
Victoria & Albert Museum (London)
Taipei City Museum (Taipei)
Royal Ontario Museum (Canada)
The traditional Korean Punchong techniques appeal to me because of their character of liberality and unrestricted naturalness, they consist of the bold expression of line carving and iron painting on roughly brushed white slip. This white slip on Punchong ware from Chosun dynasty was generally applied to cover the underneath rough red clay in order to get a clear and clean surface. I adopt beneath clay as a canvas and paint white clay on it. I sometimes draw spontaneously with my fingers on the white clay or intend a composition of deep brown in oxide color on the contrasting white surface.
These processes require long term labor and disciplines. The best works of art have resulted from the same effort and attitude as the farmerís when he clears the land, sow seeds and harvests.
The beauty and spirit of our country ceramics spring from farmersí wisdom and genuineness intending to unify and adapt to nature in our old basic agricultural society.
I think a potter should hold this position, getting close to the oneness with nature, accepting clay as a part of nature rather than expressing his desires through irrational modeling. We must understand clay as land of life rather than as tools of expression.
This is the most important virtue of a ceramist, and I work with this idea.