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Mr. Kwak onggi_1.png

Korean Onggi Technique Demo + Q&A 

Kwak Kyung-tae's passion for the majestic Onggi vessels and the rustic charm of Korean slipware has inspired him to carve out a unique voice in the world of ceramics. Specializing exclusively in Onggi and Buncheong, he draws deeply from the rich traditions of the Korean peninsula, particularly those of the Joseon dynasty, and reinterprets them within a contemporary framework.
Onggi has been popularized as Korea’s large fermentation vessels, but its meaning is
not limited to large vessels. We explore how Onggi refers to a way of working with certain types of
clay and with certain firing conditions. In this intensive session we uncover the deep roots of onggi in
Korean society and its role as a vessel for humanity, both literally and figuratively. We begin by
exploring how specific cultural, geographical, and culinary contexts informed the development of this
incredible set of techniques, then dive right into making. As master Kwak Kyungtae forms an onggi
from start to finish, his apprentice will be translating the master’s detailed commentary on each part of
the process. One of the beautiful aspects of Onggi is that each movement is informed and has been
refined by generations of potters. As this knowledge has been carried forth, you will witness the same
movements that were being used thousands of years ago.

Euro 285 including tax and lunch
Duration : 6 hours 

Topics Covered

 

● Regional influences, i.e how geographical limitations influenced subtleties

   of form and making techniques
● Clay sourcing, storage, and preparation for making onggi,

   historical and contemporary approaches
● Practical method to stretch coils (Taryeom) on the table

   from a block of clay
● Making the base disc and compressing it flat with the pang-mang-i 

   (wooden striking tool)
● Coiling process (Taryeom-jil), simultaneously attaching the coil and

   creating height in the wall of the piece in a rhythmic set of micro

   techniques that become one collective movement
● Paddling the form (Surae-jil) using wooden tools inside and outside

   to compress, thin, and shape the form on the wheel
● Final Shaping (Geun-gae-jil) using metal rib tools for smoothing

   the surface while altering the line of the final form.
● Rim  forming and refining using a traditional long shammy cloth (Jeon-tae)
● Scribing of lines and decorative motifs, historical significance and their

   role in accentuating

● Lifting the freshly made onggi off the wheel with traditional cloth method
● Mr. Kwak’s interpretation of traditional onggi techniques in his artistic

   practice, along with an invitation to using traditional tools and techniques

   to inspire new ways of thinking and working

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