Get ready to get hands on with Grace Han!
In this five-day intensive workshop for intermediate to advanced levels, Grace will share unique Korean traditional techniques she uses when creating large vessels (Onggi) on a potter’s wheel. The techniques involve large slab-making (without a slab roller), large coil making, paddling, slab throwing, coil throwing, dry throwing etc. Participants will also have an opportunity to use a Korean traditional Onggi wheel brought from South Korea. The physicality involved in this traditional Onggi making activity will provide you fresh joy when working with clay!
$695 + GST
- 24 hour studio access
- Full access to the entire Historic Clay District site, including tours
- All firings
- Use of shop glazes and underglazes
Artist responsible for:
- Clay – can be purchased on site
- Various tools and materials (you will be notified of what to bring)
- Accommodations: Onsite housing is available at the BMO Artist Lodge for $305 (6 nights, check in Aug14, check out Aug 20). Fee includes a private room with double bed, shared bathrooms and communal living areas. For more information, click here.
A full refund (less a $25 administration fee) is available if you cancel by the registration deadline (June 20). If Medalta cancels, or if you need to cancel due to medical reasons (documentation required), you will receive a full refund. For cancellations 2 weeks prior to the workshop, a refund of 50% of the total fee is available. If you cancel within 2 weeks of the start of the workshop or during the workshop, we will be unable to issue any refund.
Consideration for Covid-19
Please note that there is a possibility that Medalta will need to cancel or postpone the workshops again.
For more information contact Amy Duval: firstname.lastname@example.org
Grace Han is a ceramic artist originally trained in South Korea. She received her BFA from Dankook University where she specialized in traditional Korean ceramic techniques and skills. She received her MFA from University of Manitoba in 2016 and has been pursuing her career as a ceramic artist in Canada.
My work is a deep exploration of the nuances and complexity of being “between”:
living as a Canadian Newcomer from Asia; having a slight physical frame but possessing an indomitable boldness; and as a ceramic artist trained in the Korean tradition who is seeking to marry it to my own originality. I call this practice betweenness.
Betweenness shows itself in how I make both large-scale works and also small repetitive porcelain pieces. I create large-scale works using the Onggi technique which requires tremendous physical work in the making process. This process releases the negative emotions possessed within my inner spaces and allows me to breathe in.
In contrast to the Onggi-making, I make small porcelain objects repetitively to keep my hands busy. In this calm process, I can bring some organization to my ideas and thoughts that are all tangled in my head.
By inviting the audience to directly interact with my work, I seek to hold authentic conversations with the audience without verbalization.