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.
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.
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