Presented by Soluna Fine Art, the solo exhibition of Lee Kang-hyo will come to an end on 15 Nov. The Korean artist is one of the leading figures contemporary abstract expressionism, and a master of ‘onggi’. Take the opportunity to visit!
“I empty my mind and focus on expressions of landscape of my heart without planning what I will create beforehand. When I am devoted to my present feeling and emotions and apply that on the surface, it sometimes become mountain, sometimes sky, waterfall, or even it has an image of a human. “ - Lee Kang-Hyo, interview for Soluna Fine Art Grand Opening.
Works available during Hong Kong Art Week 2018 @artsy And @hkartgal .
Images: LEE KANG-HYO, Wall Piece Buncheong The Sky #61 , 2018 ; Buncheong The Sky #60 , 2018 ; Mountain-Water #56 , 2018.
가끔은 단순하고 표현한듯 안한듯한
외부의 표현물이 날 흥분하게하며
그의 퍼포먼스와 작품의 세계를 보면서
꾸미지 않고 외부의 세계와 적당히 타협도
없으면서도 표현하는 그의 작업을 보며
잠시 마음속에 탄성을 했다.
옹기에 화장을 입히며,작품의 완숙미는
세월을 자랑하는 멋진 중년의 여인으로 변한다.
뒤의 하얀색의 광목은 무더운 여름날의
하늘을 날아 꽃을 향해가는 나비가 되어있었다.
홍콩 솔루나갤러리 오픈 "이강효"개인전 퍼포먼스 中
#potterydiary My visit to Kanghyo Lee’s, studio in Cheongju was a real treat. All of us from Master Oh’s studio, Juree Kim, Kelsie and some other artists went, which became a bigger group than I had initially organised. Master Lee was very kind to treat all of us to lunch and to tea at his studio.
He has been on this site for 30 years and I really felt the ‘time’ when I walked into his making space where he has his kick wheel. There was something very special and moving about his studio.
Seeing so many of his works and spending an afternoon in his space was quite an experience. Master Oh asked what I thought of the visit and my reply was... a strong sense of time and depth in his work, which gave me the inner strength to really search towards who I am and what I want...
With @hyangjongoh @laonpottery @juliaschuster_art @kelsiekelsiekelsiekelsie @crimson_earth_art .
We are all small in front of nature. Buncheong and Our Creative Director Rachel Lee introducing artist Lee Kang-hyo, before the performance at our grand opening on October 11th. We are so honored to receive all of your supports and we had a blast that night. The exhibition will be opened until November 15th, come visit us will you have the chance!
Mon - Fri: 10am - 6pm Sat: 10am - 4pm
Our current exhibition, Lee Kang-hyo: Buncheong Landscape is opened until November 15th. Be sure to come by and check out the marvelous pieces of Lee Kang-hyo if you are in the area!
Image: installation view @solunafineart
Photography by @karmacheng
Liz Lau, owner of @lumpstudio in Wong Chuk Hang at the grand opening @solunafineart for the performance of Lee Kang Hyo. Lump is a community ceramic studio for professional and students of ceramics. People buy a membership and have a place with everything they need to create ceramic art. Very interesting business model. #lumpstudio#lizlaustudio#leekanghyo#solunafineart#koreanceramicart#ceramicart
In one hour will be the performance by Lee Kang-hyo where he will apply the white sleeve and colour to a large Buncheong pot to traditional Korean music. There is no kiln large enough in Hong Kong to fire this huge pottery. #leekanghyo
Tomorrow is the grand opening for @solunafineart featuring the most well-known ceramic artist in Korea—Lee Kang Hyo The main event is his performance in an impromptu creation. These evening at the Korea Centre he gave a talk on his art. #leekanghyo#solunafineart
Soluna Fine Art is pleased to present the grand opening for our new Sheung Wan location on this Thursday, 11th October.
Lee’s calligraphic ‘action painting’ performance will take place at 6:00pm on Thursday, 11 October.
Venue: Soluna Fine Art, G/F, 52 Sai Street, Sheung Wan
Soluna Fine Art is pleased to present the grand opening for our new Sheung Wan location on this Thursday, 11th October.
We are honored to have one of the leading figures of the Korean contemporary art scene, Lee Kang-hyo to be our first exhibitor/exhibited artist.
Do not miss the chance to watch the performance by Lee Kang-hyo in the coming Wednesday in Soluna Fine Art, 5pm to 7pm. As a master of 'onggi' and one of the leading figures in the abstract expressionist movement, Lee will share his inspiration and how he expresses his experience and emotions through his performance. Reserve your seat via firstname.lastname@example.org before it's full!
Evening y’all! Today’s studio post doesn’t look like much in terms of productivity. As a potter it’s easy to get caught up with the production side of things aiming to start each day by making more pots then the day before but the reality isn’t like that, or at least not for me... first job today was to clean and make space to unload the bisque kiln which was mainly full of pots from last weeks workshops. A major part of my business is running pottery workshops and classes which are great fun but that means I have lots of other peoples pots to fire and glaze. So today was mainly spent glazing other people’s work ready to be fired a second time. In between glazing I did a little reading/ research and decorated these moon jars and vase you can see using black clay and porcelain slip inspired by Lee Kang-Hyo’s loose but intensely expressive style. The moon jars are the 3rd set of three I’ve made in the ‘Three Pillars of Strength’ theme. Each pot represents a pillar and each pillar depicts one aspect to a healthy, balanced, successful and sustainable life. •Physical Fitness •Financial Fitness •Emotional Fitness.
Easy for some maybe but not for me. I struggle on all three, although luckily not all at once sometimes you’re up on one and down on another I guess that’s just life. .
#binubinuinspiration | Detail of one of the legendary Korean ceramic artist Lee Kang Hyo’s Onggi pots. Obsessed with his artistry and all things Onggi right now (traditional Korean pottery for fermenting every and all things delicious, the cornerstone for Korean cuisine and an iconic cultural treasure) #leekanghyo#slipglaze#onggi
Kang-hyo Lee’s moon jars are not just beautiful ceramic objects: they are spiritual reflections of the natural world, alternately calm and contemplative, dynamic and dramatic.
So-named for its spherical, lunar appearance, the form dates back as far as the Joseon period (from the late 17th to 18th centuries). Thrown in two hemispherical halves, these bowl shapes are then joined together (some potters even intentionally leave evidence of the join, embracing the moon jar’s slight asymmetry or its bellying around the middle as part of its natural beauty). The jar is then decorated with slip, delicate patches of pink and orange brought out through the process of the firing lending the moon jar its faint surface ‘craters’. Follow the link in our bio to read more! #leekanghyo#koreanceramics#moonjars#goldmarkpots#goldmarkart#goldmarkgallery#punchong#contemporaryceramics#uppingham#rutland
Saturday inspiration. A paddled bottle in buncheong style, oil fired in reduction by Lee Kang Hyo. A lot of folks associate him with buncheong, and that is deserved for the most part. But keep in mind that there are hundreds of potters using this technique of brushing white slip on dark iron rich clay. Yet the combination of brushwork, materials, making and firing methods has led Lee Kang Hyo’s style to be immediately recognizable. Today let us reflect on the subtleties of defining a style, and the conflict between forcing it to emerge deliberately vs. Allowing it to manifest in our work naturally. What do you all think is the best path to defining a personal artistic style? .
‘When I make a big jar or a small cup, I am contained. I express myself differently; it depends on what kind of energy I have when I make each pot. The properties of clay, as a material, meet Lee Kang-hyo, the human and maker. The energy is then delivered to my work. That means there is a link between my thinking and my work, because my work represents my feeling at that moment. My work and myself are presented equally. There is a quiet energy, but there is also a very strong energy like a storm. We can move quietly but also run very fast. It is the same when I am making pots. Sometimes when I make a pot using the paddling technique, I paddle very hard. That is a strong energy. Sometimes, I play music while I draw on my pots. This gives me a powerful energy. From time to time, I take energy from the sky, which is very quiet and slow. There is not difference between the quiet energy and the strong energy. I have both.’ - Lee Kang-hyo on the energy that instills all his work, most especially his giant, slip-covered Onggi pots. Watch these 7 clips (swipe through for more 👆➡️) to see him decorate one from start to finish, all to the pounding best of traditional Korean drum music. / #weloveclay#newsite#comingsoon2018#goldmark#leekanghyo#onggi#koreanpottery#koreanceramics#samulnori#drummusic#strongenergy#quietenergy @potsinaction @pottery_videos @insta_pottery
A quiet yet powerful beauty in this form by Lee Kang Hyo. I often look through the photos from the time we spent together just to get a fresh perspective after learning so many more aspects of ceramics then I knew then. Always a great point of reflection and constant inspiration. Can’t wait to visit again this spring. .
Long straw brush belonging to Korean potter Lee Kang-hyo for applying slip. 'Buncheong' (or 'Punch'ong') is a contemporary term that describes the wonderfully bold, dynamic type of pottery made throughout the Korean peninsula during the first 200 years of the Joson Dynasty (roughly the 15th and 16th centuries). It was typified by three characteristics: dark, iron-rich clay; white slip; and a clear, sometimes grey or pale green glaze. As with much Korean pottery, Buncheong also became wildly popular in Japan after native wares were imported (and later looted) to the island. Japanese tea masters hugely admired Korean Buncheong rice bowls for their unassuming and modest character and saw them as perfectly suited to the tea ceremony, while Korean potters who settled in Japan later gave birth to the Karatsu kilns, whose pots owe a great deal to the decorative tradition. The clay that was available to the potters with whom Buncheong originated tended to have a high iron content, and in order to introduce lighter tones to their finished pieces, possibly (toward the end of the period) to emulate the growing taste for white porcelain, a white slip was used to coat the dark clay ('Buncheong sagi' translates literally as ‘greyish-blue ceramic wearing white make-up’). Swipe through 👆➡️ and you’ll see Kang-hyo applying the slip with his brush in a technique termed ‘Guiyal’ in Korean, or ‘Hakeme’ in Japanese. The natural, unrefined nature of the bound straw leaves the applied slip thick and textured, with a fantastic sense of movement that Buncheong potters are often keen to keep in the final piece. Swipe through once more 👆➡️ and you’ll see a beautiful Hakeme bowl with slip sweeping round the outer edge and rim in a circular design that reminds me of Zen ‘enso’, the ‘O’ shaped brushstrokes practised by traditional Japanese calligraphers. I love the sense of motion in this type of pottery, where you can see and feel the sweeping contact between brush and clay; a wonderful way to invest pottery with movement, or to accentuate a curved form. / #weloveclay#leekanghyo#buncheong#koreanpottery#hakeme#brushwork#ceramicdecoration#slipware#studiopottery
I just watched a stunning documentary on #ceramacist#artist#onggimaster#potter#leekanghyo Large pots in #Korea used for #fermentedfoods from form & function of such craft skill to the artistic object. How his family are involved in the processes - his wife buying the first gas powered kiln that they still use today instead of buying newly wed furniture for their home. The sacrifices and hardships, the other jobs had to take in-between in order to live.... Reflecting on his paths, How even though he chose this art career for "peaceful life" he needed to reassess & escape to mountains in order to reevaluate his own identity aged around 40. Meditation, dance and family saved him.
Before he starts working he builds his energies and put into the processes of developing the pot - he dances around and has both joy in his eyes and I see pain.
#throwbackthursday to Lee Kang-hyo’s incredible onggi performance back in November @universityofthearts . In this video the camera turns to see close friends Jennifer Zwilling @jzwilling (our Curator of Artistic Programs and Elisabeth Agro (Nancy L. McNeil Associate Curator of American Modern and Contemporary craft and Decorative Arts @philamuseum) trying to avoid getting hit with slip, which was flying everywhere. 😂
‘When I make pots I use clay as a material but it all comes through me and out of my body. My hands, my heart and my head. I express myself differently, it depends on what kind of energy I have when I make each pot. This property of clay as a material meets Lee Kang-hyo the human and maker. The energy is then delivered to my work. That means there is a link between my thinking and my work because my work represents my feeling at that moment...’ #leekanghyo#kanghyolee#onggi#onggijar#goldmarkpots#goldmarkgallery#ceramics#ceramicmaster
Korean potter Lee Kang-hyo’s revival of the Onggi tradition has made him a world famous ceramic artist. His enormous, sculptural pots are a sight to behold. These four photos give some insight into how each monumental Onggi jar is built up using ‘coils’, thick ropes of clay added in bands on top of a thrown base. A hanging basket with coals dries the inside of the pot as each new coil is added. The joined surface is then smoothed with a paddle before the next coil is made. Swipe to see the process in full. ➡️ / #weloveclay#goldmarkgallery#newsite#comingsoon2018#koreanpottery#studiopottery#leekanghyo#onggi#bigpots#ceramics#potsinaction / ‘We Love Clay’ is an exciting new website from Goldmark, bringing online resources from new films and photography to books, articles, special offers, and much, much more. Follow the link in bio to register your interest!
Goodness you have to get up early to beat the redoubtable @adrianachristianson to the tea bowl. I'd barely got my finger off the post button. Well done Adriana, but no, sadly you don't get the pot. Though you might have if you'd bought a lottery ticket...in Wales, in 1998. Now here's what I've been dying to share with you all. How this piece of gorgeousness came to be in @a.hjortshoj cupboard. Anne Mette says "It's such a wonderful, strange coincidence that I won this bowl the first time I met Lee Kang-hyo. I was working for Phil Rogers in Wales when Mr Lee was invited to join the local festival to make his big jars. There's a raffle on the last day. Invited artists donate work and students receive the money raised. I bought five tickets and my number came up! On my way home from Australia in 2001, I visited him in South Korea. I fell in love with Korean ceramics and have been lucky to return eight times since then. If my house were on fire, this is the pot I would grab." Love this story! I think we should continue the tradition with a raffle of artists' work at the next Australian Triennale @australianceramicstriennale ... coincidentally being held here in Tassie next year. I'm happy to mind the ticket book ... A big thank you to Anne Mette for sharing her treasure. X #rivallingflorianforlengthyposts#again#pottreasure#leekanghyo @goldmarkart #thursdaysmysterypotter#woodfiredceramics
Ceramics has a strong history in East Asian, especially in Korea where its functionality has shaped diet. Dating back to around 4000 to 5000 BC, Korean earthenware, a type of microporous pottery known as ‘onggi’, was made and used to store food and to assist in the fermentation of food Korea has long been famous for, foods such as gochujang (fermented chili pepper paste) and of course, kimchi (fermented vegetables).⠀⠀
The above clip features renown onggi master Lee Kang-Hyo from the beautiful documentary “Lee Kang-Hyo ‘Onggi Master’”.⠀⠀
Cred: “Lee Kang-Hyo ‘Onggi Master’”, @goldmarkart