CRITIC’S CHOICE

Harmony without extremism of form, simplicity and truth to materials, a love of nature, economy – these are the traditional qualities of Korean art. While the development of the decorative arts, such as ceramics, glass, metalwork and jewellery, were influenced by Chinese culture in the Neolithic period and the innovations in Korean ceramics which that produced, Korean art has subsequently developed its own distinct and influential aesthetic.

The art forms displayed here are from some of the foremost contemporary

Korean artists working in the decorative arts, from silversmiths to ceramicists. All have, in some way, a connection to Scotland and the UK, many from studying and teaching here. Tradition and innovation combine in much of the work, not least Yun Ju Cheol’s Cheomjang (clay molecule), slipware which uses a tradition dating from the 14th century and updates it. Applying tiny dots of slipware in incremental stages, he builds up 50-100 layers, creating ceramic objects with a bristly, tactile surface. Heeseung Koh’s wooden jewellery is elegant and finely crafted, created from the notion of “plugging a hole”. Holes are made in smooth wooden plaques, filled with other objects and hung with iron wire or silver to create jewellery which is directly inspired by the strong yet damaged fabric of a cityscape.

Inspired by the idea of the lapse of time in Samuel Beckett’s play Waiting for Godot, Bae Sejin creates ceramics out of tiny blocks, left, an act of repetition that is aimed at getting closer to the “repetitive and circular time of nature by continuing the repetition of labour”. Also featured are the finely hammered silverware of Dong-Hyun Kim and William Lee, and ceramics, woodwork and jewellery from Jongjin Park, Park Seohee, Misun Won, Inhwa Lee, Choi Keeryong, Kyosun Yung, Park Hong-gu and Hyejeong Kim.

Korean Connection, The Scottish Gallery, 16 Dundas Street, Edinburgh, 0131 558 1200, Mon-Fri 10am-6pm, Sat 10am-4pm, until July 28