KWON SUNG EUN

권성은

b.1987 -

CV


Education

2018-  현재 성신여자대학교 공예과 출강

2014   성신여자대학교 대학원 공예학과 도자전공 졸업

2012   성신여자대학교 공예과 도자전공 졸업


Exhibition

2022

갤러리 까비넷 기획 공예전시 over and over

갤러리 까비넷 기획 공예전시 취향저격 : Bowl, Basket, Basin

갤러리 소소단상 기획 부머스 초대전

Serene Moments with SEART, Stockholm


2021

공예트랜드페어 창작공방관


2015

공예트랜드페어 창작공방관


2014 

제50회 경기미술대전 특선

'도자 문구 꾸러미' 우수문화상품 'K-RIBBON SLECTION' 공예품 지정

공예트랜드페어 창작공방관


2013

제10회 대한민국 도예공모전 입선


2012

제4회 대학도자전 은상

제9회 대한민국 도예공모전 우수상

Artist Statement


나의 주된 작업방식은 ‘핸드빌딩 (Hand-Building)’이다. 도자 제작 기술에서 가장 근본이 되는 핸드빌딩 기법은 자유로운 흙의 물성을 담은 ‘손자국’이라는 유형(有形)의 것을 통해 시간의 흐름과 흔적을 고스란히 형태 안에 가두어표현할 수 있어 매우 흥미롭다. 그래서 나는 나의 작업을 기록이라 하고 싶다. 나의 핸드빌딩 시리즈는 기(器), 토판(土板), 가변의 오브제 등 여러 가지 형태로 구현된다. 작업 대부분은 단순한 형태가 주를 이루는데, 이는 손자국을 돋보이게 하기 위함이다. 


기(器) 작업은 용도에 따라 각기 다른 크기의 기둥을 만든 후, 얇은 흙 띠를 가로 혹은 세로로 덧붙여 완성한다. 기둥 형태에 붙인 흙 띠 장식은 활기를 불어넣어 주는 중요한 감초 역할을 한다. 이 중 세로로 덧붙인 흙 띠 장식은 얇고날렵하게 만져낸 끝 선으로부터 명암의 구분이 선명하게 나뉘어 서로 다른 두 공간을 연결해 놓은 듯한 묘한 분위기를 자아내는 것이 특히 인상적이다. 빛의 그림자로부터 느낄 수 있었던 공간감은 토판 작업의 시발점이기도 하다. 


토판은 일정한 간격으로 열 맞춰 흙 띠를 붙여 만든다. 빛의 방향과 여러 각도에서 바라보는 시선에 의해 시시각각서로 다른 장면을 연출한다. 엄지와 검지로 꼬집어 만든 흙 띠는 짧게 혹은 길게 자유로이 배치되기도 하고, 특정 형태를 따라 규칙적인 방향으로 구현되기도 한다. 주어진 면적 안에서 정렬된 듯 자유롭게 붙은 흙 띠에서 예측할 수 없는 빛의 미감을 발견할 수 있다. 


흙을 만지며 단순하지만, 매번 다르게 남겨지는 손자국이 좋다. 작은 순간들이 모여 고스란히 쌓이는 손의 흔적으로 

나의 온기를 함께 나누고 싶다.



My main method of execution is “handbuilding”.  Handbuilding, the most fundamental technique in ceramic making, uses the form-oriented (有形) elements of "handprints" by using flexible aspect of clay properties. It is a very attractive technique as it can express the passage of time and traces intact in the form.

For this reason, I consider my work as a process of keeping records.

My handbuilding series are implemented in various forms including containers (器 (ghi)), clay plates (土板 (toh-pahn)), and interchangeable objet. Most of the work is in simple form with my intention making the handprints emphasized.


Artwork in the ghi (器) category is by making pillars of different sizes for different purposes first, and then adding thin clay strips in horizontal or vertical directions. The clay strip decorations attached to the pillars are important as their role is to vitalize the look and feel of the entire artwork. The vertical strip decoration is especially impressive in that the distinction between dark and light is clear from the thin and sharp end line, creating an interesting atmosphere as if connecting the two different spaces. In fact, the spatial effect captured from the shadow of light was the starting point of my clay plate work.


Toh-pahn is made by attaching clay strips in a row at equal intervals. Scenes are created that are different every moment by the direction of the light and the point of view from different angles. The clay strip made by pinching with the thumb and index finger is freely arranged either short or long, or sometimes created in a certain direction by following a specific form. Unexpected aesthetics of light can be found in the freely attached clay strips as if aligned within a given area. I enjoy the simple yet diverse handprints made after touching the clay. My wish is to share my warmth in the traces of my hands, a collection of moments.


(Everyday Porcelain)

In order to focus on the essence of working with clay, my work is based on an appreciation of fundamental pottery techniques. The handbuilding series is a branch from my master's thesis in 2014. The topic of the thesis is "Study on Making White Porcelain Teaware with Handprints". When I was in school, with the influence of my academic advisor, I became interested in teawar-making and tea ceremony. Then, one day, when my hand touched a warm teacup, deep thoughts came to my mind on the meaning and gratitude for the existence of "hands" that provide experiences to touch, make, and feel the senses and warmth.

“Hands” are the most important and essential tool in the area of craft. I felt the beauty in the traces my hands made, and I chose the "handbuilding" technique to emphasize and express the original aspects of clay properties. At first, various shapes were created as my hands moved along. However, the focus was on the form rather than the handprint. The form had to be more simplified to emphasize the handprints created by handbuilding as decorative elements, and it turned my mind back to the beginning of my artist life. The shape faced by the beginner's mind was a cylinder. It is such a basic form that may seem plain because of its simplicity, but it felt a beauty of comfort. The harmony of handprints and cylinders created a strong force that drew each other, and this is how my series of handbuilding based cylinders started. 

Currently, I am conducting gradual explorations by changing the sizes and diversifying the decorative lines. The process of piling up clay around the circular surface is enjoyable. Simple but different, repeated small moments are collected and expressed on the surface as they are. My wish is to share my warmth in the traces of my hands. (Clay Plates (土板 (toh-pahn))

Works

WALL DECORATION Series

Wall Decoration

Hand-building, 백토, 1250°C 산화소성   20 x 22.5 cm


Wall Decoration

Hand-building, 철백토, 1250°C 산화소성   23 x 20 cm

Wall Decoration

Hand-building, 흑토, 1250°C 산화소성  21.5  x 29 cm

Sungeun Kwon

권성은

b. 1987 -

CV


Education

2012   성신여자대학교 공예과 도자전공 졸업

2018-  현재 성신여자대학교 공예과 출강

2014   성신여자대학교 대학원 공예학과 도자전공 졸업

2012   성신여자대학교 공예과 도자전공 졸업


Exhibition

2022

갤러리까비넷 기획 공예전시 over and over

갤러리 까비넷 기획 공예전시 취향저격 : Bowl, Basket, Basin

갤러리 소소단상 기획 부머스 초대전

Serene Moments with SEART, Stockholm


2021

공예트랜드페어 창작공방관


2015

공예트랜드페어 창작공방관


2014

제50회 경기미술대전 특선

도자 문구 꾸러미' 우수문화상품 'K-RIBBON SLECTION' 

공예품 지정

공예트랜드페어 창작공방관


2013

제10회 대한민국 도예공모전 입선


2012

제4회 대학도자전 은상

제9회 대한민국 도예공모전 우수상

Biography


나의 주된 작업방식은 ‘핸드빌딩 (Hand-Building)’이다. 도자 제작 기술에서 가장 근본이 되는 핸드빌딩 기법은 자유로운 흙의 물성을 담은 ‘손자국’이라는 유형(有形)의 것을 통해 시간의 흐름과 흔적을 고스란히 형태 안에 가두어 표현할 수 있어 매우 흥미롭다. 그래서 나는 나의 작업을 기록이라 하고 싶다. 나의 핸드빌딩 시리즈는 기(器), 토판(土板), 가변의 오브제 등 여러 가지 형태로 구현된다. 작업 대부분은 단순한 형태가 주를 이루는데, 이는 손자국을 돋보이게 하기 위함이다. 


기(器) 작업은 용도에 따라 각기 다른 크기의 기둥을 만든 후, 얇은 흙 띠를 가로 혹은 세로로 덧붙여 완성한다. 기둥 형태에 붙인 흙 띠 장식은 활기를 불어넣어 주는 중요한 감초 역할을 한다. 이 중 세로로 덧붙인 흙 띠 장식은 얇고 날렵하게 만져낸 끝 선으로부터 명암의 구분이 선명하게 나뉘어 서로 다른 두 공간을 연결해 놓은 듯한 묘한 분위기를 자아내는 것이 특히 인상적이다. 빛의 그림자로부터 느낄 수 있었던 공간감은 토판 작업의 시발점이기도 하다. 


토판은 일정한 간격으로 열 맞춰 흙 띠를 붙여 만든다. 빛의 방향과 여러 각도에서 바라보는 시선에 의해 시시각각

서로 다른 장면을 연출한다. 엄지와 검지로 꼬집어 만든 흙 띠는 짧게 혹은 길게 자유로이 배치되기도 하고, 특정 형태를 따라 규칙적인 방향으로 구현되기도 한다. 주어진 면적 안에서 정렬된 듯 자유롭게 붙은 흙 띠에서 예측할 수 없는 빛의 미감을 발견할 수 있다.  흙을 만지며 단순하지만, 매번 다르게 남겨지는 손자국이 좋다. 작은 순간들이 모여 고스란히 쌓이는 손의 흔적으로 나의 온기를 함께 나누고 싶다.



My main method of execution is “handbuilding”.  Handbuilding, the most fundamental technique in ceramic making, uses the form-oriented (有形) elements of "handprints" by using flexible aspect of clay properties. It is a very attractive technique as it can express the passage of time and traces intact in the form. For this reason, I consider my work as a process of keeping records. My handbuilding series are implemented in various forms including

containers (器 (ghi)), clay plates (土板 (toh-pahn)), and interchangeable objet. Most of the work is in simple form with my intention making the handprints emphasized.


Artwork in the ghi (器) category is by making pillars of different sizes for different purposes first, and then adding thin clay strips in horizontal or vertical directions. The clay strip decorations attached to the pillars are important as their role is to vitalize the look and feel of the entire artwork. The vertical strip decoration is especially impressive in that the distinction between dark and light is clear from the thin and sharp end line, creating an interesting atmosphere as if connecting the two different spaces. In fact, the spatial effect captured from the shadow of light was the starting point of my clay plate work.


Toh-pahn is made by attaching clay strips in a row at equal intervals. Scenes are created that are different every moment by the direction of the light and the point of view from different angles. The clay strip made by pinching with the thumb and index finger is freely arranged either short or long, or sometimes created in a certain direction by following a specific form. Unexpected aesthetics of light can be found in the freely attached clay strips as if aligned within a given area. I enjoy the simple yet diverse handprints made after touching the clay. My wish is to share my warmth in the traces of my hands, a collection of moments.


(Everyday Porcelain)

In order to focus on the essence of working with clay, my work is based on an appreciation of fundamental pottery techniques. The handbuilding series is a branch from my master's thesis in 2014. The topic of the thesis is "Study on Making White Porcelain Teaware with Handprints". When I was in school, with the influence of my academic advisor, I became interested in teawar-making and tea ceremony. Then, one day, when my hand touched a warm teacup, deep thoughts came to my mind on the meaning and gratitude for the existence of "hands" that provide experiences to touch, make, and feel the senses and warmth. “Hands” are the most important and essential tool in the area of craft. I felt the beauty in the traces my hands made, and I chose the "handbuilding" technique to emphasize and express the original aspects of clay properties. At first, various shapes were created as my hands moved along. However, the focus was on the form rather than the handprint. The form had to be more simplified to emphasize the handprints created by handbuilding as decorative elements, and it turned my mind back to the beginning of my artist life. The shape faced by the beginner's mind was a cylinder. It is such a basic form that may seem plain because of its simplicity, but it felt a beauty of comfort. The harmony of handprints and cylinders created a strong force that drew each other, and this is how my series of handbuilding based cylinders started.  Currently, I am conducting gradual explorations by changing the sizes and diversifying the decorative lines. The process of piling up clay around the circular surface is enjoyable. Simple but different, repeated small moments are collected and expressed on the surface as they are. My wish is to share my warmth in the traces of my hands.

**(Clay Plates (土板 (toh-pahn))

Works