RESONANCE

This body of work begins with the traditional Korean moon jar, shaped through resonance with the view outside my window in Brooklyn, where I live. Rooted in the Korean architectural philosophy of chagyeong, which values borrowing scenery rather than possessing or reconstructing it, the work embraces a humility that accepts what nature has already completed.

The moon jar forms a near-perfect sphere by joining two hemispheres, yet it reveals subtle kiln-made irregularities that make each piece singular. In contrast, jogakbo embodies human precision through structured geometry and repetition.

In my work, these opposing qualities—chance and control, imperfection and precision—coexist within a single form. The surfaces draw from Brooklyn’s industrial landscape: peeling paint, exposed hues, weathered red bricks, and aged metal, carrying traces of time and labor. Rather than reproducing tradition, this work engages with its philosophy; as chagyeong borrows scenery without claiming it, the moon jar becomes a vessel that quietly converses with Brooklyn, where past and present, nature and city resonate together.