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Damhwahun Jeju onggi

The most important aspect in Jeju onggi is its clay.
Approximately 70 percent of Jeju originated clay, which encompasses emblematic volcanic ash soil. The remaining 30 percent is made up of non-volcanic ash soil.
Jeju clay has a higher iron content than other onggi clay and is uniquely differentiated in that it is fired without the application of additive glazes which normally consists of ashes and medicinal soil.
The onggi including both those from both Jeju island and the mainland are described as a referred to as ‘breathing’ type of pottery vessels, which refer to the countless number of holes(e.g. air passes but water does not leak) that are only visibly observed under a microscope.
All the ceramics displayed at Damhwahun(담화헌) are delicately crafted by hand.
The entire creation cycle beginning from the early treatment procedures called ‘subi’ in Korean to throwing of the clay to shape its form, and firing the onggi are all carried out at the "Damhwahun" studio in Jeju.
The Jeju clay that is used at Damhwahun studios is obtained through self-production. In particular, the treatment process of Jeju soil called ‘Subi’ is of integral importance.
The soil is first cleared from any foreign substances such as small stones or debris, then the soil is grinded and let to sit with a protective vinyl cover for at least a month. Only after this enhancing ageing process is thoroughly done will the clay be ready to be used to create a Jeju onggi.
The ceramic artworks at Damhwahun are fired at high temperatures of more than 1200 degrees which result in ceramics with surfaces stronger than that of normal pottery.
Jeju onggi is known to soften at the human touch the more it is used, while reflecting the characteristics of its owner. Damhwahun willingly offers such sense of time and fun spirit through their work.
Norang cave ceramics using oxidation firing methods that supply sufficient oxygen to the kiln while Damhwahun's black cave ceramics use a reduction firing method which is the Korean traditional wood firing method. One exception would be that Damhwahun has its own unique method that fires the ceramics at 1200 degrees celsius (an incomplete combustion) which leaves a wood smoked finish.

Jeong Mi Sun — 2021.5.15 08:05 AM

담화헌의 제주옹기에 관하여..

제주옹기에 있어서 가장 중요한 것은 제주점토이다.
제주 점토의 약 70%는 전형적인 화산회토의 특성을 가지며 나머지 30%는 비화산회토의 성분을 가지고 있다.
제주점토는 다른 지역의 옹기점토보다 철분함량이 높아
잿물(재+약토)을 바르지 않고 있는 그대로 구워낸다는 점이 크게 다르다.
제주옹기와 육지옹기 모두 “숨쉬는 그릇”으로 이는 현미경으로 옹기단면을 관찰했을 때 무수한 구멍(숨구멍:공기는 통하되 물은 새지 않음)으로 이루어져 있다는 것을 말한다.
담화헌의 모든 그릇은 수공예로 제작되어진다.
제주흙을 수비하는 과정에서부터 물레를 이용해 제작하는 과정, 옹기를 구워내는 모든 과정이 제주에 있는 ‘담화헌’작업실에서 이루어진다.
담화헌의 제주점토는 자체생산을 통해 얻어지는데
특히 제주점토를 수비하는 과정이 중요하다.
하나하나 흙속의 작은 돌등 이물질을 골라내고 이를 빻아서 비닐로 덮어 흙을 찰지게 만드는데 최소 한 달 이상의 숙성과정을
거쳐야 비로소 제작이 가능한 제주점토가 된다.
담화헌의 그릇은 1200도 이상의 고온에서 구워내며 일반적으로 쓰는 도자기그릇에 견주어 그 강도면 에서도 결코 뒤처지지 않는다. 제주옹기는 쓰면 쓸수록 그릇표면이 고와지면서 주인을 닮아 가는데 시간과 그릇에 주는 재미를 담화헌를 통해 느껴 보는 것이 또 다른 재미가 있을 것이다.
노랑굴그릇(산화번조)은 가마에 산소를 충분히 공급하며 완전연소방법으로 구워내는 그릇이고
담화헌의 검은굴 그릇(환원번조)은 전통방식(장작가마)을 바탕으로 하되 1200도에서 구워지는 과정에 불완전연소로 인해 그릇의 표면에 나무의 연기를 씌우는 작업과정으로 담화헌만의 특수한 방법고안으로 인해 나온 결과물이라고 할 수 있다.

Jeong Mi Sun — 2021.5.15 08:06 AM
Jeong Mi Sun — 2021.5.15 07:43 AM
Jeong Mi Sun — 2021.5.15 07:44 AM
Jeong Mi Sun — 2021.5.15 07:44 AM
Jeong Mi Sun — 2021.5.15 07:45 AM
Jeong Mi Sun — 2021.5.15 07:46 AM
Jeong Mi Sun — 2021.5.15 07:46 AM
Jeong Mi Sun — 2021.5.15 07:46 AM
Jeong Mi Sun — 2021.5.15 07:47 AM
Jeong Mi Sun — 2021.5.15 07:48 AM
Jeong Mi Sun — 2021.5.15 07:48 AM
Jeong Mi Sun — 2021.5.15 07:49 AM
Jeong Mi Sun — 2021.5.15 08:08 AM
Jeong Mi Sun — 2021.5.15 08:08 AM
Jeong Mi Sun — 2021.5.15 08:14 AM
Jeong Mi Sun — 2021.5.15 08:15 AM
Jeong Mi Sun — 2021.6.4 03:43 PM
Future School Jeju Onggi

Future School Jeju Onggi

Venice, Installation

A thoughtful welcome


Visitors to the Future School campus in Venice are welcomed with the offer of a drink—either water or tea—served in cups produced by master ceramicist and sculptor Jeong Mi Sun, who has also created a birdbath that will be installed on the pavilion’s roof.

Clay Onggi vessels are an everyday item in Korea, often used for fermenting kimchi and making soy sauce. They are closely associated with tasks that were traditionally carried out by women. The pieces made by Jeong Mi Sun for Future School are in the Jeju Onggi tradition—a form of ceramic unique to Jeju Island and to the hands of the sculptor. The process involves multiple people, and the pieces are fired in specially constructed kilns made from basalt found on the volcanic island, which take at least four days to reach the optimal temperature. Each object is unique, thanks to the explosive nature of the firing process and the iron variations in the clay.

Exhibition program participants

Happening now

Workers blocking the street during a protest in Vicenza. May 2021

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

Maestranze dello Spettacolo Veneto during the protest at La Fenice Theatre. June 2021

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

Demonstration in front of La Fenice Theatre in Venice. June 2021

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

Venetian workers from art and cultural sector, protesting during lockdown. May 2020

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

AWI (Art Workers Italia) during the occupation of the Piccolo Teatro in Milan. April 2021

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

Screenshot from the Dialogues #002 - Lunch at Korean Pavilion

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

New Project from Officina Marghera and Architetture Precarie

The Venetian Team — The Venetian Team: Lagoon Dialogues — Yesterday

Pandemic and Mechanical Surveillance_Alex Taek-Gwang Lee

Future School Staff — Futurology of Schools — Yesterday

Exhibition programs

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