The motif of the object began with a Korean placenta jar. The placenta jar is a container made for storing the umbilical cord of a baby boy born in the royal family of Korea. The jar is commonly known for its water and food storage, but it also serves as a storage for precious things. I often uses curved elements and ring shapes when making the form of objects. I became interested in the jar because it was similar to my way of working. I think the subjective reinterpretation of the relics of the past is a valuable move that connects the past and the future. The original jar has a smooth surface, but it has a three-dimensional representation of the texture of the cloth that used to wrap the umbilical cord. This visual representation shows a sense of volume, as if the surface of the jar was covered with another layer. The color is based on the color of Joseon white porcelain and Goryeo celadon in the past, and the glaze is superimposed on the way I work. The superficial changes that occur as glaze sticks and melts in a hot kiln bring us visual freshness. The author defines these changes as 'planned coincidences'.
The work used white poceline clay. And it's a combination of glaze with limestone, zinc, feldspar, etc., and glaze with pigment, which makes the surface colorful. After that, it was completed at a high temperature of 1250 degrees.
