Cheon Woo-sun’s wire vessels were exhibited earlier this year in the exhibition “Durable Objects of Metalsmithing” at the Seoul Museum of Craft Art (SOLUNA ART GROUP)
(AS A QUESTION OF CRAFTSMANSHIP)
Editor’s Note: An ancient cultural genre in Korea has found new recognition on the world stage: handicrafts. From finalists in the Loewe Foundation Craft Prize to artists featured in numerous exhibitions overseas, Korean artists’ handicrafts have indeed become respected works of art. In this series, Korea JoongAng Daily interviews contemporary artisans, each specializing in a particular medium that uniquely represents the prestige of Korean tradition and culture.
“Open Vase 0622” by Cheon Woo-sun. This work was a finalist for the Loewe Foundation Craft Prize 2023. (SOLUNA ART GROUP)
GOYANG, Gyeonggi — They say you are what you eat. But for 48-year-old metalsmith Cheon Woo-sun, he is what he makes.
In Cheon’s metal wire vessels, the linear becomes three-dimensional, as they are created by bending, twisting and welding together straight nickel silver or copper wires to form what the artist describes as “open vases.”
The name was given because of the gaps that naturally form between the wires, making the bulbous objects obviously unsuitable for holding liquids. Cheon does not emphasize the wires; it is the gaps that are both the means and the goal of his work.
“I think they are a representation of my personality,” he told Korea JoongAng Daily in an interview at his studio, which sits peacefully among the scenic fields in Goyang. “I don’t like feeling locked in and I constantly wish for freedom. I prefer honesty to mystery, but at the same time, that doesn’t necessarily mean that I am completely open myself.”
Cheon sounds somewhat contradictory with the example of a one-way mirror that reflects on one side but is transparent on the other. The idea was to leave even the smallest space that connects the outside and the inside.
And so, with the gaps in his vessels, he rejects the prejudice that a bowl or vase must be closed on all sides in order to be free in his art. “But on the other hand, even the mere preoccupation with creating these gaps can be another way of limiting myself.”
Cheon Woo-sun’s wire vessels were exhibited earlier this year in the exhibition “Durable Objects of Metalsmithing” at the Seoul Museum of Craft Art (SOLUNA ART GROUP)
The metalwork industry in the small country of Korea is extremely competitive, but Cheon has built a strong presence over the years. In the Korean market, he was the winner of the annual Metalwork and Jewelry Award hosted and organized by the non-ferrous metal smelter Korea Zinc in 2017, and received several other awards at the Cheongju International Craft Competition, Craft Trend Fair, and others.
Internationally, Cheon was a finalist for the prestigious Loewe Foundation Craft Prize 2023 with his piece “Open Vase 0622,” a round brown vessel reminiscent of a traditional moon vase.
The more of Cheon’s shape-shifting vessels he accumulates and the more metal wires he bends and twists, the more he feels like he’s pouring his heart and soul into each piece. But that’s inevitable, he says.
“When you really think about it, it’s only natural to empty something in order to refill it – just like with any bowl.”
The following interview has been edited for length and clarity.
Cheon Woo-sun works on his wire vessels in his studio in Goyang, Gyeonggi (SOLUNA ART GROUP)
Q. The world of metalworking may be infinite, but a significant portion of it is devoted to jewelry and accessories. How did you come up with the idea of vessels specifically?
A. After graduating, I went through a phase where I thought about what the most symbolic handicraft object is. My answer was the bowl because it is an object that everyone uses in everyday life and it still falls into the handicraft category. Over the generations, the concept and forms of home, clothing and food have constantly changed according to trends and environments, but the bowl has always maintained its most basic form. I wanted to fully visualize the basic function of the bowl, which is to repeatedly hold and empty liquids or objects, through the concept of yummy (the Korean word for existence and non-existence) by leaving gaps between the wires in my pieces.
“Open Vase 1023” by Cheon Woo-sun (SOLUNA ART GROUP)
Speaking of gaps: In exhibitions you also tend to create shadows from your vessels. Is there a special meaning behind this?
I was always so focused on making my artwork that I never thought about how I would display it in museums and galleries. I once noticed that a shadow had formed under one of my wire vessels from the bright lighting, and it was so beautiful. So for a group exhibition at the Seoul Museum of Craft Art earlier this year, I intentionally staged my vessels to create shadows. It was so satisfying to see that they seemed much less caged than in my previous exhibitions. I think the shadows have become an extension of my works, creating the illusion of enlarging the space they stand in.
Cheon Woo-sun works on his wire vessels in his studio in Goyang, Gyeonggi (SOLUNA ART GROUP)
How has your work changed over the years?
There were two turning points with my wire vessels; once in 2015 and the other time in 2020. My initial works were mostly wires all flowing in the same direction. But then I did a solo show in 2015 and that’s when I completely changed the direction of my wires and had them cross over each other, creating a fresh overall structure.
In 2020 I tried for the first time otchil (lacquer coating) on my vessels. In the past, I would simply laminate the top of the original metal or use chemicals to change the colors. Recently, I’ve tried something else too, which is making my vessels bumpier rather than the usual smooth vase shape. These changes are helpful because they keep my work process from feeling like a boring routine.
“Open Vase 0324” by Cheon Woo-sun (SOLUNA ART GROUP)
How do you produce your wirework?
I start by sketching the silhouettes of the vessels on paper like any other artist. I have studied 3D computer graphics, but personally I find it impractical, so I prefer to draw by hand. I don’t draw too detailed, though, because the arrangement of the wires can never be as perfect as I plan. I work on the vessel by dividing it into four sides and bending and attaching the wires one by one, which are then glued together. Two different techniques are used to weld them together: tungsten inert gas welding (TIG) for the overall shape and silver soldering to connect the individual wires. The vessel is then sandblasted to give a smoother surface. Finally, I apply Otchil or paint it a different color.
A close-up of the vessels by Cheon Woo-sun (SOLUNA ART GROUP)
What makes metal wire a unique material in arts and crafts?
The thing about metal is that it’s solid when left alone. It’s only when it’s heated and passed through the hands of the craftsman that it becomes pliable, making it one of the most straightforward materials to work with. The reason I chose wire in the metal category is because it’s as good at creating gaps as metal sheeting. It’s also much easier to bend. I think I’ve been fascinated by the nimbleness and pliability of wire since I first tried it in college.
Cheon Woo-sun works on his wire vessels in his studio in Goyang, Gyeonggi (SOLUNA ART GROUP)
What is your work philosophy?
I never work all night, which is very different from most artisans. I have been working in Goyang since 2010, roughly since I got married. After that, I only work during normal business hours, roughly 9am to 5pm. It is only during this time that I am fully immersed in my work. This is because I always had to pick up my children after kindergarten because my wife also works. For over 10 years, I was basically half artisan, half housewife. Now that the kids are older, my schedule has become more flexible, but I maintain this lifestyle. It’s not that I don’t like my work, but most people work during the day, so why wouldn’t I? I frequently recommend this schedule to other artisans because I enjoy having regular dinners with my family and having a drink after a long day. This is the joy of my life.
BY SHIN MIN-HEE ([email protected])
