Reduction
Kwon Dae Sup's white porcelain (baekja) faithfully reproduces the moon jars (dalhangari) that were produced during the late Joseon Dynasty, spanning the latter half of the 17th century and well into the 18th century. The rotund jar stands just above 40cm, its creamy white, rich. The porcelain clay is made of the finest sediments, high-quality kaolin impurities completely removed. From the choice of raw clay to the techniques of achieving kiln temperature, Kwon has inherited the essence, form, and techniques of the Joseon Dynasty's royal pottery. However, this is not to suggest that he replicates rediscovered techniques. Instead, he anchors the Moon Jars
firmly in traditional culture while embracing modernity in his own unique manner. Kwon's moon jar hemispheres are slightly deformed-yet-balanced. The unassumingly naivety of the misaligned hemisphere offers a certain solace, a stability. The texture of the surface is also varied. Kwon is wary of his work being tagged as moon jars (dalhangari). The moon jars of the Joseon era were clearly not the same as his creations, and an attachment to the full moon may only limit interpretation and imagination.
Kwon Dae Sup's white porcelain (baekja) faithfully reproduces the moon jars (dalhangari) that were produced during the late Joseon Dynasty, spanning the latter half of the 17th century and well into the 18th century. The rotund jar stands just above 40cm, its creamy white, rich. The porcelain clay is made of the finest sediments, high-quality kaolin impurities completely removed. From the choice of raw clay to the techniques of achieving kiln temperature, Kwon has inherited the essence, form, and techniques of the Joseon Dynasty's royal pottery. However, this is not to suggest that he replicates rediscovered techniques. Instead, he anchors the Moon Jars
firmly in traditional culture while embracing modernity in his own unique manner. Kwon's moon jar hemispheres are slightly deformed-yet-balanced. The unassumingly naivety of the misaligned hemisphere offers a certain solace, a stability. The texture of the surface is also varied. Kwon is wary of his work being tagged as moon jars (dalhangari). The moon jars of the Joseon era were clearly not the same as his creations, and an attachment to the full moon may only limit interpretation and imagination.
Artists on show
What's on nearby
