Research

V&A – Korean Ceramics

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Ahn Seongman – Digital Ceramic. 2015. 3D Printed onggi earthenware.

Ahn combines digital technology with the use of coarse iron-rich clay of the kind traditionally employed in the making of onggi wares. Onggi wares were used throughout Korea for cooking, storing and transporting food. By designing his forms on a computer and printing them with a specially modified 3D printer, Ahn has reinvigorated Korea’s onggi heritage by creating vessels specifically suited to contemporary ways of living.

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Lee Seunghee Tao Series. 2016. Porcelain, underglaze iron brown.

Lee reinterprets famous examples of porcelain from the Joseon dynasty (1392-1910) in the form of ceramic tiles. Starting with a flat porcelain blank, he applies up to seventy thin layers of kaolin slip which are left to dry between each application. Lee shaves down the layered surface to create a low-relief version of the original vessel, which he then decorates accordingly. 

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Park SohyoungLa Citta Blu 2016-03. 2016. Porcelain Paper

Park creates complex cityscapes of tiny buildings and other architectural elements that seem to made from cut, pierced and folded sheets of paper. Park uses porcelain impregnated paper, which, after wetting with water, can be manipulated without the risk of distortion. When fired, the paper burns away to leave delicate sheets of coloured porcelain.

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Lee Kanghyo – Buncheong Landscape Series. 2016. Stoneware, slip.

Lee is well known for his reinterpretations of historical buncheong wares. These are a type of coarse stoneware produced between 1400-1600 characterised by the use of white slip to create carefree abstract designs. Lee’s depiction of Korea’s seasonal cycle uses a pallet of earthy toned slips. He follows the traditional East-Asian approach to painting whereby artists internalise the characteristics of a landscape and then depict them in the studio.

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Cho SinhyunFlow of Lines – Rest. 2015. Pigmented porcelain slip.

Cho produces both utilitarian and pictorial works using pigmented porcelain slip. For the former, he begins by making blocks of leather hard porcelain consisting of thin layers of alternating coloured slip poured into a container. Each layer is allowed to partially dry out before the next layer is poured over it. Once a block is ready, Cho carves it into a vessel form with a sharply defined marbleised patterning. For his pictorial works, he similarly applies layers of porcelain slip to a gypsum board and then scrapes through them to create an image.

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