Korean Modern Buncheong Ceramic Sculpture by Sung Jae Choi

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A ceramic sculpture piece created in the tradition of Buncheong ware by contemporary Korean ceramicist Sung Jae Choi (South Korean, … Read more A ceramic sculpture piece created in the tradition of Buncheong ware by contemporary Korean ceramicist Sung Jae Choi (South Korean, b. 1962). In a hollow rectangular with slight irregularity of being hand-made, the piece evokes the distant memory of the stoneware pillow found in ancient China and Korea, but perhaps more conceptually relevant, the inspiration lies with the rice-barrel shaped Buncheong jar from early Chosen dynasty. The surface is covered in a white slip onto which the artist painted with his fingers a spontaneous aqua scenery. With just a few quick strokes, one can easily see ducks floating on the pond with willows swaying and reeds rustling in the wind, perhaps also a lotus
withering after the summer bloom. Rooted in strong ceramic tradition of Buncheong ware of 14-16th century, Choi revitalized the technique to reach for a modernity that is both refined and rustic, while still retaining a strong sense of poetry and humbleness. The piece is singed on the base as shown.
Reference: for a similar piece see accession no. FE.57-2008 in the collection of Victoria and Albert Museum.
About the artist: Choi received is BFA and MFA from Hongik Art University in Seoul, Korea in Ceramic Art. He is currently a professor in the Department of Traditional Art and Craft at Korea National University of Cultural Heritage. Choi works in the Buncheong Korean ceramics tradition, showing internationally throughout Korea, Japan, Italy, France, Taiwan, Ireland, and the United States. He has traveled throughout the world via teaching, workshop, and residency positions such as Visiting Professor of Jingdezhen Ceramic University (Jingdezhen, China) in 2015 and Guest Professor of Alfred University (Alfred, NY) in 2006.
Artist's statement: The expression of my Buncheong ceramics is based on that of grayish-blue powdered celadons that were made with white clay and red stoneware clay, which was manufactured in Korea in the 16th century, leading to its maximization of modern pictorial ceramics. This method is focused on applying white slips to the surface of a vessel to maximize its pictorial elements; expression is realized through the process of applying white clay slip to the surface of a vessel with rough brushes, hands or tree branches. As for the shapes, traditionally flat square vessels or round jars are favored. The form and surface aim to express the traces of impromptu passing actions conducted by an artist as well as abstraction and contemplative landscape of a comfortable mind reminiscent of the natural image.
Expression and beauty of Buncheong ceramics are considered to be naturally gained in the process of dealing with materials, and it is hoped that they will have harmonious natural aesthetic sensitivity created through earth, fire, and human beings based on masterful techniques that have been accumulated for a long time without exaggeration or obstinacy. See less