Korean craft rediscovered

Clockwise from top left are “Red Capsule,” porcelain, by Kim Myung-sun; “Kettle 2,” silver, by Ahn Min-sik; “Cheomjang,” porcelain, by Yun Ju-cheol; “Rhythm of the Red Luster,” ottchil, by Chung Hae-cho; “Growth II,” silver, by Chung Jeemin Jamie; “MatrixII,” Abaca fiber, by Chang Yeon-soon; “Super Apple,” ceramic, by Kim Mun-kyung; “13rd Camera,” silver, by Sim Hyun-seok . / Courtesy of Korea Craft & Design Foundation

Master artisans expand presence in world scenes

By Chung Ah-young

Due to the delicate, traditional skills and workmanship that go into them, examples of Korean craftwork are mesmerizing international connoisseurs and consumers. They are also attracted to its unique way of reflecting modernity while preserving national identity.

This is the result of strenuous efforts made by Korean contemporary craftsmen who are reinventing art form instead of rigorously sticking to traditional ways and merely replicating their ancestors’ skills. The artisans reinterpret their inherited methods in new ways while young artists adopt new technology to enhance their craftsmanship.

The Korea Craft & Design Foundation (KCDF) brought Korean contemporary craftworks at Collect at the Saatchi Gallery in London from May 10 to 13 for the first time.

“This was the first time Korean craftwork was introduced to the fair. We will continue to participate in future fairs,” said an official of the foundation.

The foundation selected eight craft artists including master artisans, contemporary artists in “ottchil” or Korean lacquer ware, ceramics, metals, textiles and jewelry to represent current Korean craftwork at the international art fair. The work presented by artists of varying backgrounds and ages was praised for its “minimal aesthetics.”

Korean craftworks containing traditional and contemporary elements were created by lacquer ware artist Chung Hae-cho, ceramic makers Kim Mun-kyung, Kim Myung-sun, Yun Ju-cheol, textile artisan Chang Yeon-soon, and metal artists Ahn Min-sik, Chung Jee-min Jamie and Sim Hyun-seok.

“Korean craftworks are showing new possibilities in the world contemporary art scene. Currently both the American continent and even Europe are recognizing the value of Korean contemporary craft. On that score, participation in the London fair was a good opportunity to introduce more experimental Korean craftworks overseas,” she said.

Also, an exhibition titled “Constancy and Change in Korean Traditional Craft 2013” held at the Milan International Furniture Fair, Italy in April wowed the European audience. It showcased the aesthetic values of Korean craftwork created by 16 talented Korean craftsmen. The exhibition introduced unique Korean artifacts made with different materials including ceramics, fabrics, wood, silver, paper, and lacquer.

For example, the “Pentagonal Variance” by artist Kim Yik-yung showed a geometrical configuration of pentagonal white chairs while the moon-shaped “White Porcelain” by artisan Kwon Dae-sup reinterpreted a piece of pottery into artwork. Designer Suh Young-hee and three other sewing masters including Kim In-ja presented their masterpieces of hanbok, or traditional Korean attire.

“The manifesto of this exhibition is to show ‘another Korea,’ one that is both dynamic and productive,” said Italy’s best-known art expert Cristina Morozzi, also known as the eye of Milan. “This exhibition focuses on the artisan Korea, the Korea with values and history, the Korea that is highly praised for its beauty and the Korea which is still completely modern.”

Elaine Kim, deputy director of the World Jewellery Museum in Seoul, said that Korean contemporary crafts were recognized in international art circles a few years ago.

“While traditionalists are following authentic techniques handed down from generation to generation, revisionists are eager to recreate their craft into new and innovative artworks with a modern touch. The outcome is now being appreciated from the world,” she said.

She has been recently participating in international art events such as the first Toronto International Jewelry Festival from May 1 to 31 and the 42nd general assembly of the Society of North American Goldsmiths (SNAG) from May 14 to 18 in Canada to introduce the Korean contemporary craft art scene.

Kim will give a lecture about contemporary designs in jewelry themed as “Icons of Identity” in Asia particularly Korea during the conference. “It will be the first time for SNAG to pay attention to Asian culture in its 44-year history. As a special guest for Korean craft, it is very meaningful to raise the awareness about the ingenuity of Korean artworks and enhance understanding of Korean traditional and contemporary designs,” she said.

She added that the positive effects of Korean rapper/singer Psy’s sensational hit “Gangnam Style” is spilling over into other fields of Korean culture. “Almost everyone I met in the world contemporary art scene talks about Psy and now people in the world are beginning to talk about Korean contemporary craftworks. They are eager to know about it,” she said.

Kim said that Korean contemporary craftwork holds both modern aesthetics and traditional identity, creating a new art from. “Many people outside the nation have long been fascinated by Korean craftwork. Although the craftwork is mixed with modern elements, foreigners identify them as distinctly Korean,” she said.

She said that labeled as “new” and “hybrid” forms of cultural representation, their work triggers thought-provoking questions about the possibilities of how craft traditions evolve in response to contemporary social and cultural concerns.