COMBINATION VASE |

RED202, BLACK101, RED150

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01. The squares of a square tile containing a cylinder are 54 in total including nine in width and three in length on both sides respectively.

02. The squares of a square tile containing a cylinder are 81 in total including nine in width.

03. A block comprises three squares in width and nine squares in length.

04. This work is made up of 202 blocks in total.

05. 202 “red”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

06. 101 “black”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

07. 150 “red”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

08. Silk screen paper may be put at random on this tiles, but they should match the grid lines of the squares drawn in advance on tiles horizontally and vertically.

09. The cylinders displayng only a completely “red” plane schould be more than five.

10. The cylinders displayng only a completely “black” plane schould be more than five.

11. The cylinders displayng only a completely “red” and “black” planes in half schould be more than five.

12. The left and right colors of the cylinders displayng “red” and “black” planes in half can beset random.

13. The visible planes of all cylinders can be changed into “red” or “black” in disregard of all instructions pertaining to color.

01. 실린더가 들어 있는 사각 타일의 모눈칸은 중앙에 위치한 실린더를 기준으로 좌우 각각 세로 3칸, 가로 9칸으로 총 54칸이다.

02. 실린더가 들어 있지 않은 사각 타일의 모눈칸은 가로9칸, 세로9칸으로 총81칸이다.

03. 모눈칸 가로3칸 세로9칸은 1블록이다.

04. 이 작업은 모두 202블록으로 이루어져 있다.

05. 1개의 블록과 같은 면적으로 한국의 도재상에서 파는 ‘빨강’전사지 202장을 타일 전면에 붙인(그린)다.

06. 1개의 블록과 같은 면적으로 한국의 도재상에서 파는 ‘검정’전사지 101장을 타일 전면에 붙인(그린)다.

07. 1개의 블록과 같은 면적으로 한국의 도재상에서 파는 ‘빨강’전사지 150장을 타일 전면에 붙인(그린)다.

08. 전사지를 타일 위 임의의 장소에 자유롭게 붙일 수 있으나, 타일 위에 미리 그어진 모눈선과 수평, 수직을 일치시킨다.

09. 완전히 ‘빨강’면만 보이는 실린더는 5개 이상이어야 한다.

10. 완전히 ‘검정’면만 보이는 실린더는 5개 이상이어야 한다.

11. ‘검정’과 ‘빨강’면이 절반씩 보이는 실린더는 5개 이상이어야 한다.

12. ‘검정’과 ‘빨강’면이 절반씩 보이는 실린더의 좌우 색상은 임의로 정할 수 있다.

13. 실린더 색상에 관한 지시문을 모두 무시하고 모든 실린더의 보이는 면을 ‘빨강’ 혹은 ‘검정’으로 바꿀 수 있다.

2016- / Porcelain / Slip Casting / Silk Screen Paper / Oxidation Firing

MOTION SERIES

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One prototype was made from a plaster mold that can be mass-produced. The plaster mold that was produced to move up and down freely in the process of casting can be used as a cast to create different types of vessels. This producing method stands for a formative language in which a technique of plaster casting can not only be mass-produced, but also be used to create quality and unique products.

하나의 원형으로 대량생산이 가능한 석고 몰드를 만들었다. 그 석고 몰드는 주입 성형과정에서 상하로 자유롭게 움직일 수 있게 제작되어, 하나의 틀로 항상 다른 형태의 기(器)를 만들 수 있다. 이러한 제작방법은 대량생산에 적합한 석고 몰드 기법으로 일품생산도 가능하게 하며, 항상 새로운 작업을 만들 수 있다는 기대감을 준다.

2010- / Porcelain / Slip Casting / Reduction Firing

MATRIX SERIES

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What is particularly important in my work is as follows.

⋅ to ‘modernize’ my work of porcelain by exploiting ceramic constantly used from the past and to express this as a formative language

⋅ to stand for properties of porcelain

⋅ to maximize a technique of handicraft plaster mold which is my main technique

Despite these abstract concepts,, what is notable in the process of representing a target object based on specific conditions is how to restrain forms of freedom given to me and how to draw ideas of works in my mind as the final form. It is a highly fascinating theme for me to determine several consistent rules and constraints that will be applied to my work and to express various possibilities in them with my formative language. Due to these reasons, the followings are rules made for my work Matrix.

Rules

1. Pieces of thin pieces on the body of the vessel can be detached and attached to other places of the body for transformation.

2. The number of pieces of vessel that can be moved for transformation is limitless. However, they must be located on the grid lines of the vessel when attached to other surfaces.

3. Range of colored parts and types of color can be freely chosen, but faces of the vessel and relief should be frequently utilized.

법칙

1. 기(器)의 몸통에 붙어 있는 릴리프를 떼어내거나 붙여서 변형시킬 수 있다.

2. 변형할 수 있는 릴리프 조각의 개수는 제한이 없지만, 조각을 기의 다른 면에 붙이고자 할 때는 반드시 기(器)의 표면에 미리 그어진 모눈선 위에 위치시킨다.

3. 색을 입히는 범위와 색의 종류는 임의로 정할 수 있지만, 기(器)의 면과 릴리프의 관계를 적극적으로 활용한다.

2014- / Porcelain / Silk Screen / Slip Casting / Reduction Firing

MATRIX SERIES 2

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What is particularly important in my work is as follows.

⋅ to ‘modernize’ my work of porcelain by exploiting ceramic constantly used from the past and to express this as a formative language

⋅ to stand for properties of porcelain

⋅ to maximize a technique of handicraft plaster mold which is my main technique

Despite these abstract concepts,, what is notable in the process of representing a target object based on specific conditions is how to restrain forms of freedom given to me and how to draw ideas of works in my mind as the final form. It is a highly fascinating theme for me to determine several consistent rules and constraints that will be applied to my work and to express various possibilities in them with my formative language. Due to these reasons, the followings are rules made for my work Matrix.

Rules

1. Pieces of thin pieces on the body of the vessel can be detached and attached to other places of the body for transformation.

2. The number of pieces of vessel that can be moved for transformation is limitless. However, they must be located on the grid lines of the vessel when attached to other surfaces.

3. Range of colored parts and types of color can be freely chosen, but faces of the vessel and relief should be frequently utilized.

법칙

1. 기(器)의 몸통에 붙어 있는 릴리프를 떼어내거나 붙여서 변형시킬 수 있다.

3. 색을 입히는 범위와 색의 종류는 임의로 정할 수 있지만, 기(器)의 면과 릴리프의 관계를 적극적으로 활용한다.

2014- / Porcelain / Silk Screen / Slip Casting / Reduction Firing

This flower vase was created with the theme of combining a form of traditional pot having beauty of gentle curved lines with straight lines giving an impression of hardness.

01. The squares of a square tile containing a cylinder are 54 in total including nine in width and three in length on both sides respectively.

02. The squares of a square tile containing a cylinder are 81 in total including nine in width.

03. A block comprises three squares in width and nine squares in length.

04. This work is made up of 202 blocks in total.

05. 202 “red”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

06. 101 “black”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

07. 150 “red”pieces of silk screen paper from ceramic shop in south korea (a piece of silk screen paper whose size is equivalent to that of one block) are put (drawn) on this tiles.

08. Silk screen paper may be put at random on this tiles, but they should match the grid lines of the squares drawn in advance on tiles horizontally and vertically.

09. The cylinders displayng only a completely “red” plane schould be more than five.

10. The cylinders displayng only a completely “black” plane schould be more than five.

11. The cylinders displayng only a completely “red” and “black” planes in half schould be more than five.

12. The left and right colors of the cylinders displayng “red” and “black” planes in half can beset random.

13. The visible planes of all cylinders can be changed into “red” or “black” in disregard of all instructions pertaining to color.

What is particularly important in my work is as follows.

⋅ to ‘modernize’ my work of porcelain by exploiting ceramic constantly used from the past and to express this as a formative language

⋅ to stand for properties of porcelain

⋅ to maximize a technique of handicraft plaster mold which is my main technique

Rules

1. Pieces of thin pieces on the body of the vessel can be detached and attached to other places of the body for transformation.

2. The number of pieces of vessel that can be moved for transformation is limitless. However, they must be located on the grid lines of the vessel when attached to other surfaces.

3. Range of colored parts and types of color can be freely chosen, but faces of the vessel and relief should be frequently utilized.

What is particularly important in my work is as follows.

⋅ to ‘modernize’ my work of porcelain by exploiting ceramic constantly used from the past and to express this as a formative language

⋅ to stand for properties of porcelain

⋅ to maximize a technique of handicraft plaster mold which is my main technique

Rules

1. Pieces of thin pieces on the body of the vessel can be detached and attached to other places of the body for transformation.

2. The number of pieces of vessel that can be moved for transformation is limitless. However, they must be located on the grid lines of the vessel when attached to other surfaces.

3. Range of colored parts and types of color can be freely chosen, but faces of the vessel and relief should be frequently utilized.

Ice Kingdom is TEE SERVICE that a person whom I imagined in my mind seems to use on a daily basis. Like Motion Series, the plaster mold of the cup was produced to move up and down freely in the process of casting and can be used as a mold forming different sorts of cups.

TEE SERVICE – PEACOCK was made by depicting a peacock which appeals to a peahen through fully spread tail feathers.

Tiles are hardly replaceable once layed. Therefore, the tiles in my work were designed to enable users themselves to change images according to one’s personal taste after layed. Turned left and right, half-painted cylinder on rectangular tiles can show new geometric patterns.

This work was designed for the illuminations to be moved on the back of ordinary square-shaped tiles. As a result, the illuminations can be directed to any preferred places that users want.