This work was made of objects that can also be used as vases, and in the early stages of the project, the top of the body was divided into boundaries, and the top lid was an image of a mountain rising on the island, and the body was conceived as a large root deep under the ground or water to emphasize a fantastic image.
However, emphasizing only the fantastic feeling removes practical elements, so the external curve is transformed into a softer curve, and the lid is round and curved, making it difficult to use by hand when placed or lifted, so it is molded so that the top part can be easily held. The hole was considered to be useful when used as a vase. The handle on the surface of the lid was attached to the back of the lid so as not to damage the aesthetics of its appearance when viewed from the front. Later, the overall shape was changed with the motif of a mother tree that gave a feeling of ascension and life, without putting an unspoken boundary such as an island and an ocean on the lid and body.
To effectively express the natural flow of glaze, it was coiled in a vertical structure, and to emphasize the color of the glaze flow, plant decorations made by a pressing technique(plaster molds) were randomly attached to the walls in the form of curved curves.
The color of the glaze is mainly white, yellow, orange, and green, and the object is applied mainly to the color used in the Tangsancai.