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À̼öÁ¾ REE, SOO JONG
Through works in communion with nature, Soo-Jong Ree allows himself and modern men to feel relaxed and get away from the hectic pace of everyday life. Considering clay as the basis of life and part of nature, Ree has explored and experimented with its physical characteristics. He sets his artistic ideal to be in accord with nature and relishes its invaluable worth. Decorated audaciously with ¡°seonkak¡±(a design created by lines carved on the surface) and ¡°cholhwa¡±(bold strokes of dark brown on a worn white surface), Ree¡¯s bunchong ware distinctively features the natural beauty of Joseon bunchong which usually remains quite familiar to Koreans. In traditional bunchong, slip was washed over the entire surface to conceal the color of the body. In Ree¡¯s work the slip, by contrast, is in harmony with the body clay, abstractly signifying his mind image as one of modeling elements. The boldness of line and blank space on the surface smeared thinly with slips brings about unrestrained freedom, artless and simple beauty. As if in the seductive world of traditional bunchong, an extraordinary fascination is quite appealing to viewers and hardly dies out. Recently, Ree is delves even further into making vessels which is conventionally a representative form of ceramics. Crossing borders and flying through time, he strives to encapsulate in them his liberal sensibility and free-flowing contemplation. Graduated from Hongik University and its graduate school, Soo-Jong Ree now actively takes part in the International Academy of Ceramics as its member. His work has been included in the main collection of the Victoria and Albert Museum in Britain, the Royal Ontario Museum in Canada and the National Folk Museum of Korea. ÈëÀÇ ¹°¼ºÀ» Ž±¸, ½ÇÇèÇØ¿Â À̼öÁ¾Àº ÀÚ¿¬°úÀÇ ±³°¨À» ÅëÇØ ¸¸µç ÀÛÇ°À¸·Î °¢¹ÚÇÑ »îÀ» »ç´Â ÀÚ½ÅÀ» ºñ·ÔÇÑ Çö´ëÀο¡°Ô ¿©À¯·Î¿òÀ» ´À³¢°Ô ÇÑ´Ù. ÀÛ°¡´Â ÈëÀ» »îÀÇ ÅÍÀü, Áï ÀÚ¿¬ÀÇ ÀϺηΠ¹Þ¾ÆµéÀÌ°í ±×¿Í Á¶È¸¦ ÀÌ·ç´Â ÀÛ¾÷¿¡ ÀÌ»ó(×âßÌ)À» µÎ¸ç, ÀÚ¿¬À» ÇâÇÑ »õ»ï½º·± ½Ã¼±À» À¯µµÇÏ¿© ±× ¼ÒÁßÇÑ °¡Ä¡¸¦ ´©¸®°íÀÚ ÇÑ´Ù. À̼öÁ¾ÀÇ ºÐû ÀÛ¾÷¿¡¼ ¿ì¸®´Â Á¶¼± ºÐû»ç±â¸¦ ÅëÇØ Àͼ÷ÇØÁø ÀÚ¿¬¹Ì, ´ë´ãÇÏ°Ô µ¡¹Ù¸¥ ÈÀåÅä »çÀÌ·Î µå·¯³ ¼±°¢°ú öÈÀÇ °Åħ¾ø´Â Ç¥ÇöÀ» º¸°Ô µÈ´Ù. ´Ù¸¸ ÀüÅëÀûÀ¸·Î ºÐûÀÇ ÈÀåÅä´Â ÅÂÅ並 °¡¸®±â À§ÇØ µ¡¹Ù¸¥ °ÍÀ̾ú´Ù¸é, À̼öÁ¾ÀÇ ºÐû»ç±â¿¡¼´Â ÅÂÅä°¡ ÈÀåÅä°¡ ÇÔ²² ´ëºñ, Á¶È¸¦ ÀÌ·ç¾î ÀÛ°¡ÀÇ ½É»óÀ» µû¶ó Ãß»óÀÇ È¸éÀ» ±¸¼ºÇÏ´Â ºÎºÐÀûÀÎ Á¶Çü¿ä¼Ò·Î¼ »ç¿ëµÇ¾ú´Ù. ÅÂÅä °íÀ¯ÀÇ »öÀ» ¹ÙÅÁ»öÀ¸·Î »ï¾Æ ¾ã°Ô µ¡Ä¥ÇÑ ÈÀåÅä À§¿¡ ö»ç·Î ¸¶¹«¸®ÇÑ ´ë´ãÇÑ Çʼ±°ú ¿©¹éÀÇ Ã³¸®´Â ÀüÅëÀÇ ºÐû»ç±â¿¡¼ ´À³¥ ¼ö ÀÖ´Â ÀÚÀ¯ºÐ¹æÇÔ°ú ¼ÖÁ÷ ´ã¹éÇÔ¿¡ ´õÇÏ¿© Á»Ã³·³ »ç±×¶óµéÁö ¾Ê´Â °ÇÑ È£¼Ò·Â¸¶Àú Áö´Ñ´Ù. ÃÖ±Ù À̼öÁ¾Àº µµÀÚ±âÀÇ °¡Àå ¿øÃÊÀû ÇüÅÂÀÌÀÚ, µµ¿¹°¡·Î¼ ÀÔ¹® ´ç½Ã ¼ö¾øÀÌ ¿¬½ÀÇß´ø ¡®±×¸©¡¯ ÀÛ¾÷¿¡ ¿ÁßÇÏ°í ÀÖ´Ù. ÀÌ°ÍÀº ÀÎÀ§ÀûÀÎ ¹¦»ç³ª ¼³¸í ¾øÀ̵µ, ¹«¾ùÀΰ¡¸¦ ¾ïÁö·Î ä¿ìÁö ¾Ê¾Æµµ ÀÌ¹Ì ¸¹Àº °ÍÀ» ´ã°í ºñ¿ö³»´Â ¿øµ¿·ÂÀ» Áö´Ï´Â ´ëÇ¥ Á¶ÇüÀÌ´Ù. ÀÛ°¡´Â ±× ÀÚü·Î¼ À̼º°ú °¨¼ºÀ» Æ÷°ýÇÏ¸ç ½Ã°øÀ» ÃÊ¿ùÇÑ ¹«ÇÑÇÑ ¼¼°è¸¦ ÇÔÃàÇÏ´Â ¡®±×¸©¡¯ ¼Ó¿¡ ÀÚÀ¯·Î¿î °¨¼º°ú »ç»öÀ» ´ã¾Æ°¡°í ÀÖ´Ù. À̼öÁ¾Àº È«ÀÍ´ëÇб³¿Í µ¿´ëÇпøÀ» Á¹¾÷ÇÏ¿´°í, ÇöÀç ¼¼°èµµÀÚÇùÀÇȸ(International Academy of Ceramics)ÀÇ È¸¿øÀ¸·Î È°µ¿ ÁßÀÌ´Ù. ¿µ±¹ÀÇ Victoria and Albert Museum, ij³ª´ÙÀÇ Royal Ontario Museum, Çѱ¹ÀÇ ±¹¸³¹Î¼Ó¹Ú¹°°ü µîÁö¿¡ ÀÛÇ°ÀÌ ¼ÒÀåµÇ¾î ÀÖ´Ù.