Potter Min Seung Ki holds both bachelor and master’s degree in Ceramic Arts from Kookmin University. He has won awards in various ceramic competitions such as the Icheon Trend competition in 2010, Gwangju porcelain competition in 2008, and Beautiful Korean Ceramics Competition in 2007. He actively showcases his works in exhibitions, including his solo exhibition in Fifteen Gallery and Buk-Ak group exhibition at Dusan Art Square in 2012. His works are part of the permanent collection in Gyeonggi Ceramic Museum.
Min Seung Ki’s works are rooted in the style of buncheong or white-slipped stoneware. They are characterized by playful application of the white slip, various line patterns, and the calming colors, unique style that now came to represent his studio. Min aims for ‘diversity in simplicity’ rather than splendor: appeal that can stand the test of time.
His two main colors, greenish-blue and ivory, are products of long experience and trial and error. They are the results of constant search to find color that can accommodate the widest range of food. From these two main colors, Min also derives various other colors with varying feel. This is possible through layering of the white slip and how it interacts with fire. Perhaps, it is these subtle variations in color that makes using multiple of Min’s pieces together not unnatural or boring.
Simplicity is the core of Min’s works, with decorative elements kept to a minimum. His goal is to create works that do not go out of fashion and are loved for a long period of time. Even in a work of one-tone, it may contain multiple different look and feels. Subtle changes and differences in a fairly straightforward shape is the charm of Min’s works.
Recently, he introduced his two-tone series, works that plays with the color combination and division in the surface. His inspiration came when he saw different color pieces stacked on top of each other. “I thought the color combination in the stack looked great and gave a try at creating one piece with multiple colors.”
Min says, when he opens the kiln, he feels more concern than anticipation. This perhaps reflects the obsession of the perfectionist and craftsman in him that cannot tolerate mediocrity. His philosophy is to ‘not be swayed by what comes and goes’. It is these mindset and mentality that has resulted in his works that is clearly making its mark in the flood of tableware in the market today.