Three Korean contemporary artists are challenging centuries-old ceramic traditions through their unconventional interpretations of traditional moon jars at Gladstone Gallery Seoul's new group exhibition "Irreverent Forms." The artists have deliberately abandoned the classical, symmetrical forms of Joseon-era (1392-1910) moon jars, instead creating pieces that lean, sag, appear punctured, or feature visible cracks and repairs.

Lee Hun-chung leads this artistic rebellion by intentionally breaking away from the ideal of perfect symmetry that has long been treasured in Korean ceramics. His approach involves allowing unpredictable natural forces including clay, fire, water, and air to intervene during both the wheel-throwing process and kiln firing. "We revere the moon jars of the 18th century because they embody the spirit of their time. But as an artist living in the 21st century, I began to wonder: if I were to recreate a vessel that looked identical to what our ancestors made, would people in the 23rd or 24th century look at it with the same reverence they feel for the originals?" Lee explained during a gallery discussion.

Lee's philosophy centers on creative destruction as a pathway to innovation. "I believe art is born through destruction. By negating an existing value, a new one can emerge. So for me, challenging those old, heavy traditions of beauty has opened the door to new possibilities," he stated. His works deliberately embrace imperfection and asymmetry as expressions of contemporary artistic values.

Dan Kim approaches the moon jar tradition from a different angle, using the iconic form as a vehicle to express his hybrid identity and queer selfhood. His piece "Persona 2" (2021) features moon jars that have been dramatically opened and reconstructed. "In ceramics classes, the curriculum often focuses on how precisely you can replicate your professor's jar. And in Korea, the form itself is iconic. I wanted to experiment with making and unmaking this object that, in many ways, symbolizes normativity," Kim told The Korea Times.

Kim's creative process involves gathering discarded ceramic shards of various colors and sizes, then reassembling them into unified forms. After firing, he applies glazes in different hues across the surface and even binds some jars with rope, creating what he describes as a sculptural embodiment of queer aesthetics that deliberately resists conventional forms. "The cracks, the rope, the saw marks visible on the wood pieces – I wanted to bring all of these elements together to challenge the idea of a single normal and explore layered hybridity," Kim noted.

The third artist, Kim Ju-ree, presents her "Evanescent Landscape" series, which paradoxically centers on the theme of disappearance – an unusual concept for ceramics, which are traditionally created to endure through time. Her works feature miniature houses typical of Korea's rapid industrial development during the 1980s, sculpted from unfired clay that slowly dissolves as water is poured at their base. This gradual transformation serves as a metaphor for the vanishing architectural landscapes of Seoul's neighborhoods amid ongoing urban redevelopment projects.

Kim Ju-ree's inspiration stems from personal experience with urban change. "I began this work around 2008 in Hwigyeong-dong, Seoul," she explained. "At that time, my home and studio were about to be razed due to redevelopment under the Lee Myung-bak administration. I wanted to capture a kind of portrait of our era." Her dissolving clay houses become powerful symbols of impermanence and the constant transformation of urban Korean life.

The exhibition "Irreverent Forms" continues through January 3, 2026, offering visitors an opportunity to witness how contemporary Korean artists are reinterpreting and revitalizing traditional ceramic forms for the modern era. The show demonstrates how cultural traditions can be both honored and transformed through artistic innovation.