Korean craft is gaining increased international recognition for its innovative reinterpretations of traditional forms and techniques, blending centuries-old heritage with contemporary design sensibilities. At the PAD London art fair, a variety of Korean galleries showcased how artisans are evolving their craft, emphasizing a thoughtful, gradual approach that contrasts with the fast-paced trends often associated with other facets of Korean culture such as K-pop and K-beauty.
A prominent example in Korean ceramics is the moon jar, a rounded white vessel dating back to the 17th century and considered an iconic symbol of Korean pottery. Jucheol Yun’s “Cheomjang Moon Jar,” exhibited by Lloyd Choi Gallery, maintains the classic spherical shape but introduces a unique surface treatment using the cheomjang technique. This involves repeatedly applying white slip with a rice-straw brush, creating a textured, almost cloudlike effect that reimagines the traditional form.
Similarly, Jalik Lee, represented by Gallery LVS & Craft, pushes the boundaries of ceramic tradition in his piece “Transition Crescens.” Rather than clay, Lee uses meticulously joined copper, polished to resemble porcelain. He describes his creative process as comparable to the biological evolution of a living organism, with the work reflecting continual adaptation and refinement across generations.
Material experimentation extends beyond ceramics. Sora Lee, also featured by Lloyd Choi Gallery, revitalizes jogakbo, a 14th-century Korean practice of patchworking leftover fabric used for wrapping items. In her work, “Ottchil Jogakbo No. 1,” Lee incorporates traditional patchwork with natural lacquer known as ottchil, blending functional heritage with modern artistic expression.
Other works on display further illustrate this dynamic design culture. Wondeok Kwon’s “Beopgochangsin Jijang” (2025) explores the structural framework of the jjanga, a traditional Korean wooden cabinet, lining both its interior and exterior with translucent hanji paper to highlight craftsmanship and subtle textures. Sungwook Park’s “Muri/Halo” (2022) draws on the Joseon-era buncheong tradition, applying white slip-based decoration to dark clay surfaces. Meanwhile, Myungtaek Jung’s “Daetdol 2401” (2024) reinterprets the stone steps of the hanok, the traditional Korean house, focusing on the interplay of curves and spatial tension to evoke a sense of restrained elegance.
Together, these works demonstrate the vitality and adaptability of Korean craft, positioning it as a rich cultural force that honors its historical roots while fearlessly exploring new forms and materials. This evolving dialogue between tradition and innovation underscores the growing international appeal of Korean artisanship in the contemporary art and design world.