Kwi-Rak Choung
Artist Statement
While my Korean background has been influential in providing me with a constant inspiration in making, and my early involvement in tasting the ancient philosophies of Buddhism and Taoism has been influential in my understanding of beauty which accepts elementary imperfections as integral to a perfect harmony, I have experienced considerable difficulty in configuring my individual aesthetic in a different, Australian cultural environment.
The constant awareness of conflicts between the influences of two cultures have led me to arrive at a point of thought where cultural influences are largely superficial in contrast to the existence of common ground for human emotions; that striving for a realm of beauty resides in us in common regardless of cultural difference.
My chosen vehicle, the anagama kiln, is one which enables us to intervene between human intellect and nature’s order. In using this vehicle it is important to comprehend a relationship between its scope and a conceptual choice within that scope for the work to show aesthetic reason.
In a broad sense, anagama fired vessel forms refer to an abstract form of nature as they often display a simple yet infinite, direct yet subtle and unassuming yet counterpoised language of beauty. My objective is to address and capture such apparently contradictory yet resolved characteristics and language of beauty in my vessel forms. This can be realised by applying my imaginative and technical capacities in using the anagama medium.
My foremost concern now is for an engagement of an inspirational character, encompassing a coexistence of discord and harmony; the character to be found in the very existence of our own life as well as in nature, exhibiting elemental disorders yet harmonised in total.
Water Injection Series
From 2000 to 2003 Kwi-Rak Choung studies for his research Masters at Monash university under the supervision of Owen Rye. The subject of his research was th effects of injecting water vapour into a wood-fire kiln during the firing process.
The vases presented in this exhibition were created as a part of his research program. They are distinctive for the organic nature of the form and natural ash glaze, and the intensity of colour. The quality of these pieces and of his earlier and current work has led some to consider Choung to be among the best of the emerging generation of Australian wood-firers.
Bottle Form
290 x 140 mm
Wheel thrown and altered. Fired under the side stoke hole of anagama kiln. Natural ash glaze.
Bottle Form
320 x 130mm
Hand-thrown and faceted. Anagama fired with feldspar glaze.
Vase
180x 220mm
Wheel-thrown and altered. Anagama fired with applied ash during firing.
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