artist
윤주동
Judong Yoon
  • 윤주동_반달항아리 01_ 백자_ 37.8×34.6×33.2cm_ 2015
    윤주동_반달항아리 01_ 백자_ 37.8×34.6×33.2cm_ 2015
  • 윤주동_무한주Ⅰ_백자, 아크릴_18×100cm_2018
    윤주동_무한주Ⅰ_백자, 아크릴_18×100cm_2018
  • 윤주동_무한주Ⅰ_부분_1
    윤주동_무한주Ⅰ_부분_1
  • 윤주동_무한주Ⅰ_부분_2
    윤주동_무한주Ⅰ_부분_2
  • 윤주동_무한주Ⅱ_백자, 아크릴_28.5×163cm_2018
    윤주동_무한주Ⅱ_백자, 아크릴_28.5×163cm_2018
  • 윤주동_무한주Ⅱ_부분_1
    윤주동_무한주Ⅱ_부분_1
  • 윤주동_도판_백자_20×20cm_2018
    윤주동_도판_백자_20×20cm_2018
  • 윤주동_도판_백자_20×20cm_2018
    윤주동_도판_백자_20×20cm_2018
  • 윤주동_도자탑_ 혼합재료_ 60×50×300cm_ 2016
    윤주동_도자탑_ 혼합재료_ 60×50×300cm_ 2016

윤주동 Judong Yoon 

 

Solo Exhibitions

2019. Noble spring, Gallery Well, Seoul

2018. Support a line, Gallery Meme, Seoul

2017. At the same time, Gallery Grimson, Seoul

2016, A bowl, Trunk Gallery, Seoul

2016. Into a bowl, Trunk Gallery, Seoul

2016. Today's yesterday, Gallery Meme, Seoul

2015. Be antique, Gallery Grimson, Seoul

2012. The moon rises, Gallery Gong Art Space, Seoul

2004. 15 years, Gallery Yoo Art Space, Seoul

2004. Kranich, Gallery Joachim, Berlin

2000. Maison céramique, Gallery Etienne de Causans, Paris

 

 

Group Exhibitions

2019. Transcend Time, Gallery Grimson, Seoul

2015. Rest;, Gallery b’ONE, Seoul

2005. Romantic Table Setting & Traditional Wedding Presents, Yoo Art Space, Seoul

2001. Korean Ceramic Tea Set Masterpieces Special Exhibition, The National Folk Museum of Korea, Seoul

2000. Korean Ceramic Tea Set Masterpieces Exhibition of 100 Artists, The National Folk Museum of Korea, Seoul

1999. Ceramic Grand Exhibition, Lotte Department Store (main shop),

Seoul

 

Art Fair

2019 Art Central 2019, Hongkong

2015 G-SEOUL 2015 International art fair, Seoul

 

Collections

The National Folk Museum of Korea.

World Ceramic Exposition 2001 Korea (GICBiennale) 

 

 

Moon Jar, full view of “Contriving the new by exploring the old”

through the modern transfiguration

 

White porcelain is a symbol which reflects national spirit and specific character.

It has been the interest of the public for a long time. Many potters not only have tried to make it, but also a few painters want to establish a formative art system with it. Besides, there are several kinds of the art drawing with diversity through artistry.

Writers have also made an attempt for transformation through their own understanding system , words association.

 

In addition, with various composers and performers, it is easy for us to guess how popular it is. White porcelain is a popular motive for revealing genial silence, in a pluralistic interpretation. Without reassessment and great ability of transfiguration, I think , white porcelain would have some side effects and aftereffects. Exceptionally , Yoon's white porcelain does not apply to this case. Rather, his work gives novel impression.

 

White porcelain made by Yoon is different from the existing porcelain which derives from abundant and generous images long ago. Yoon's porcelain has been formed by white earth which is relatively rigider than white earth from YangGu (KangWon Province) which was used to long time ago. And it is an embossed carving on the surfacel, showed inlaying.

It gives us serene feelings, therefore, it got its name Moon-Dish(Moon-Shaped Ware)

 

White earth from YangGu was mainly used to make white porcelain over the late 17c to 18th centuries. The white earth turns light an apricot color after firing and becomes rougher in nature than blue-and-white ware. The characteristic of aesthetic was completed by unexpected firing, mysterious changes caused by a minute difference of temperature in the kiln while firing.

 

After firing, inside of the ware, there is an air bubble mark, because sand soil has coarse particles conveying warmth easily. Accordingly , as table ware , when we contain soy source like colored liquid, the colored liquid leaked from the cracks would make a typical round pattern partly. It looks like a back lighted silhouette of Soback Mountain in the evening sun seen from the An Yang Roo in Bu Seouk Temple. The landscape would produce unintended natural beauty. For example , not on purpose design ,disregarded rules, indifference, a slip decoration, a delicate taste , adaption to the nature etc. All these are a general idea of Korean arts which was defined by GoYooSeop. The viewer experiences how harmonious it all is to each other.

 

But Yoon has tried diverse experimenting to come to the truth of Choo Sa's idea :contriving the new by exploring the old. This year's products of Yoon reminds us of 'existing beauty all along, getting beauty near - In His working diary -'

A milky white colored porcelain ware is casting cold and intentional tinge. Yoon's

artifacts gave solid and stern feeling through gas kiln which can not expect natural beauty or accidental taste. White porcelain with an exquisite silhouette including inlaid and irregular carved has a background like canvas for a space, and is displaying its existence naturally contrary to the taste of innocence and indistinctness stressed by Choi Soon Woo's emphasis. Yoon's Moon-Dish is openly exposing the extreme selfishness.

 

It is not difficult for anyone to say that white porcelain is rather sharp because of definite height and thickness, even though cobalt coloring irregularity is showing some clearness at times. The peculiar material of soil and a light and shade of color can relieve tensions.


"I would create a jar. I feel, it looks heavy, so I draw it on the paper, After all , I choose nothing but a shape. But. have an unsatisfied feeling.

I can't embrace any time.... I describe it with ardent love and missing on the dish.

I am looking for the moon with my body sticked out of window.

I hang the moon against the wall. though, not enough , the Moon- Dish.

The moon is in a gravity-free ...... floating" In Yoon's working diary

 

With Yoon's moon hanging on the wall, it presents night, with letting down on the floor, it returns to daytime world disappeared moon. If the dish is filled with water on a horizontal level, it looks like a lake reflecting a full-moon. The surrounding of the dish at night as well feels chilly. When Moon-dish is full of water, it makes a silluette having irregularity like a castle, the moon becomes a shelter of life, a origin of the whole creation and symbolized tolerance. For that reasons, Yoon's moon goes against gravity and it may be the most natural one among the artificial things.

Spinning on a wheel makes something hoisted from the gravity world, flesh without born. His Moon-Dish is set on that point which can meet the meaning and concept.

 

If we invested white porcelain jar of The Cho Seun Danasty with civil popular value, Yoon's Moon Dish, of itself, will be brought to the scheme of pluralistic symbol through aesthetic disparateness.

 

'The ware without having a mistaken idea,

The ware without doing a misdeed.

And without going a miss ' - In Yoon's working diary

  

He has fascinated by Bun-Cheong of In Wha Moon Porcelain retracting about 200-300 years dating back 15c. Finally he would intend to establish simple and symbolic way through the meeting and parting of many delicate stamping dots. We can understand all his amassed processing through several kinds of works in the exhibition this year.

 

"I am turning oxidation but the pottery are becoming restoration. The rocks result in a stone, the stone is becoming a soil, again the soil is gathering a stone, the stone is turning out jewelry - Porcelain " in Yoon's working diary

 

As scattering dots (of In Hwa Moon) and the gathering of Moon-Dishes, as he said, repeated practice of oxidation and restoration casting an idea like rebirth and karma of soil.

 

If the dots of In Hwa Moon were the stars of sky, Yoon's Moon would float in another experimental universe. As successful masterpiece, Yoon' Moon Dish is responding with another possibility, his first modern transfiguration is optimistic. 



윤주동 Judong Yoon 


개인전
2019 고고한 봄, 갤러리웰, 서울

2018 선을 괴다, 갤러리밈, 서울

2017 줄탁동기, 갤러리그림손, 서울

2016 하나의 그릇, 트렁크갤러리, 서울

2016 그릇되지 않은 그릇, 트렁크갤러리, 서울

2016 오늘의 어제, 갤러리밈, 서울

2015 고색창연, 갤러리그림손, 서울

2012 달이 뜬다, 공아트스페이스, 서울

2004 십오년째, 유아트스페이스, 서울

2004 Kranich, Joachim Gallery 초대전, 베를린

2000 Maison céramique, Gallery Etienne de Causans, 파리

그룹전
2019 초월시공, 갤러리그림손, 서울

2015 ;, 갤러리비원, 서울

2005 로맨틱 상차림과 전통예단, 유아트스페이스, 서울

2001 한국다기명품특별전, 국립민속박물관, 서울

2000 한국다기명품 100인전, 국립민속박물관, 서울

1999 도자기 박람회 롯데백화점, 서울

1999 세계도자기 엑스포 생활도자전, 경기


수상

2001 세계도자비엔나레 입선, 세계도자기 엑스포

1999 세계도자기 엑스포 특선 수상, 세계도자기 엑스포

1998 26회 동아공예대전 입선, 동아일보사

1997 25회 동아공예대전 입선, 동아일보사

 
아트페어
2019 Art Central Hong Kong, 갤러리그림손, 홍콩

2015 G-SEOUL 2015 국제아트페어, 갤러리BK, 서울


출판

2015 한국현대미술선 026 윤주동 (출판회사 헥사곤)


작품소장

국립민속박물관

세계도자기엑스포2001 (경기세계도자비엔날레)

작가노트
선을 괴다.

그릇을 만든다.
그 위에 투명한 판을 놓아 분리하되 이어지게 한다.
그릇을 엎는다.
반복한다.
반복되는 선은 상승의 무한을 예측하게 하고
연속되는 선은 선율로 바뀌고 흐름이 생긴다.
중력적이지 않은 선이 하늘로 오른다.
그릇을 놓고 괴면서 허공에 수를 놓는다.

종이 위에 선을 두었다.
탑이 되게 놓았다.
괴었다.
섬연하게 떠 있어도
그림자가 있어 존재한다.
존재가 가치다.

‘괴다’는 ‘사랑하다’의 순우리말이다.

나는 선을 괸다. 

2018. 봄비 나리는 양평에서 만들고 씀. 


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