Earth & Lacquer

inspiration from vernacular Korean pieces like tableware and the 14th-century moon jar, adding a brown gradient through the ottchil. ‘The gradients sort of came about during testing,’ he says. ‘I experimented with the material; I noticed that three applications of ott were enough to create a distinct layer. After five layers, it becomes really dark.’ He also altered the proportions of the traditional tableware. ‘I changed the height of the plate, for example, so it became a serving plate instead of a dinner plate. In that way, I guide people towards a different use, since the lacquer isn’t strong enough to be used as a cutting surface.’

Yoon combines traditional methods and aesthetics with a contemporary story, and indeed it’s the story that makes these pieces valuable, rather than their suitability for daily use. While lacquer surfaces are safe for eating from, they’re not scratch-resistant. Add to that the fact that ottchil is a rather labour-intensive and expensive method, and it suggests that Yoon’s tableware exists perhaps more for beauty than practicality.

The Academy’s investigative approach has had a clear influence on Yoon. It wasn’t until he attended the experimental Dutch school that he began exploring the deeper aspects of ceramics. ‘I first studied industrial design in my hometown of Seoul, but Korean schools mainly focus on preparing you to work for big companies. That’s fine, but it’s just not my thing. I wanted to discover my own personal design methodology. This project I owe very much to the Academy.’