As I was paying a second visit to Nick Bonner’s exhibition at the House of Illustration yesterday I happened almost to trip over a sign pointing to the Ceramic Art London fair, next door at Central St Martins. Needless to say, there were plenty of Koreans exhibiting. This weekend only.
Ceramic Art London
23–25 March 2018 – Central Saint Martins, King’s Cross
Using the techniques of coiling, I allow myself the freedom to arrange the elements within a composition to put my aesthetic rather than functional concerns first. Pressing with fingers to make the thickness consistent is a time-consuming process, which made me question its usefulness. However, I learned through this process how to work slowly and see the object as a whole, not in parts.
The relationship of form to surface, the relationship of one object to another, and the relationship of the viewer to the installation. I’ve spent a lot of effort satisfying these concepts.
Jin Eui Kim
My work explores how the perception of three-dimensional ceramic forms can be manipulated by the application of tonal bands on their surfaces. Illusory spatial phenomena can appear and thus significantly influence the actual three-dimensional forms through the arrangement of the bands. I work inbetween the concepts of illusion and reality and my work attracts viewers by visual phenomena as well as physical confusions. Restricting data (information) on the surface increases the chance of the viewer’s perception shifting between illusion and reality. Looking with half closed eyes, in the darker light and with distance, brings the illusion to life for me.
My work is focused on a range of functional ware. I explore traditional and contemporary aesthetics using porcelain and stoneware as the main material to produce my work.
Most of my work is initially wheel thrown, cut and then assembled using hand building techniques. My aim is to explore the three-dimensional, to emphasise the sense of volume, tension and expansion within a form.
I am fascinated about how everyday objects can influence our cultural habits and create a relationship in someone’s life. For me, making is a continuous journey and an attempt to understand my present environment.
I have participated in Ceramic Art London for the last 2 years and my work was loved by many people. The first year, I exhibited art pieces, and the second year at CAL I focused on showing functional vessels. This year I am showing a combination of works using a different process and technique.
My work has always been about the manifestation of aesthetic line. I use the technique of slip casting because the line which the plaster mold employs is more delicate and sophisticated than other techniques. My idea of form comes from the line that is made by a balloon. After I inflate the balloon, I pour the plaster through a funnel into it. I utilise the characteristics of plaster, which changes from a soft to a hard material. Before the plaster changes, I make the form by hand. This gives more possible forms and lines.
As trees gather to form forests, and as water drops gather to form rivers, small units gather to form the world. We feel serenity when we face nature in this way. While serenity may seem like a pause, there is a calm flow in every moment when looked closely. Just like invisibly blowing wind, shaking leaves and quietly flowing river, I engrave the afterglow of such flow on the surface of the ceramics. And in the process of repeated engravings, I feel serenity in a different ways. I hope my ceramics can touch the audience with serenity of life.
When you first catch sight of the pieces in Artistic Stratum ceramic series, it’s almost impossible to tell that they’re ceramics at all. But the pieces were in fact made using a technique I stumbled upon while researching in the UK: by painting clay slip onto pieces of paper towel, layering them, applying pigment and then firing them at 1280 degrees, I create a mass-like trompe l’oeil. The resulting objects not only mimic the appearance of wood, they’re also strong enough to withstand typical woodworking tools which allows me to create the container-like pieces shown here.
In Ho Song
My work expresses imaginary animals. First, I mould rough shapes of various animals using handbuilding techniques. Then, I draw imaginary animals on them, just like drawing on a canvas. This work’s motif is a Korean traditional funerary figure, Kkokdu. Kkokdu is a witty human-shaped wooden figure, known to take a role in sharing the happiness with passed ones and relieving their sorrows, coming and going between this world and the next. I reconstituted the Kkokdu with imaginary animals instead of human characters, and intended to satirize on humans’ greed and express other creatures’ dignity.
Hyu Jin Jo
Hyu Jin Jo works in ceramics because form and texture are very important to her. She likes to create basic shapes and designs and then work with intricate textures on top of these shapes. She hand carves the thrown ceramic body into geometric shapes then uses a knife to carve the textures to give handmade elements to each piece. Her goal is to combine simple industrial designs with Korean traditional craft skills. She hopes to create free textures on her ceramic products, which are not geometric or uniform and which a machine could not express.