Inspiration- Kintsugi

Kintsugi, an inspirational Japanese technique.

Kintsugi bowl from Yohei Tanabe

Kintsugi, or Kintsukuroi, is the japanese art of repairing broken ceramics with gold laquer.

It was developed as a repair method as an alternative to metal staples or to a coloured laquer which attempted to match the ceramics themselves.

Laquer is repeatedly applied to the broken areas, it is sanded down to a smooth finish between each layer. The final layer is a laquer mixed with gold dust, which is finally burnished with a metal tool to bring out the shine of the gold.

This a video explaining the process:

This process allows the ceramic pieces to have a new life. They are broken but when repaired are as beautiful – or perhaps even more beautiful – than they were before their break. The mistake is highlighted with gold, the most precious of metals. The metaphor here is not difficult to find.

The beauty for me is that the mistake is valued so highly. In fact, this form of art was so highly valued that some collectors were accused of purposefully smashing their pieces so they could be repaired in this manner. Ceramic pieces with a glaring, in your face mistake can be more valuable than they were in their original form.

Kintsugi plate

Artist Yeesook Yung has taken this art form to a new level.

Translated Vase 

Translated vase, installation scene

Her work is beautiful and inspiring. It is also completly organic. Here is how she describes it:

I took ceramic trash from a ceramic master who reproduces old Korean ceramics such as Joseon Baekja or Celadon. After baking in a kiln by using the old method, ceramic masters break almost 70 percent of the porcelains that don’t reach up to their standards of masterpieces. 
I put the broken bits and pieces of ceramic trash together one by one  as if I’m putting together a jigsaw puzzle. And I cover the seams with 24 karat gold leaf.
The result was uncanny and bumpy objects. Each broken piece operates as a self forming into an infinite proliferation toward as unexpected fabrication fictitious loquacity and stuttering discards from standard conventional masterpieces.

Translated vase, installation scene

I have been working with gold colour and gold leaf on white for an upcoming line. I find the idea of Kintsugi inspiring, but also almost a relief. Despite the fact that the process itself is long and often labour intensive, it follows a break that has already been determinded. The design itself is pre-destined in a way. I have been attempting to create an intentionally unintentional decoration using the gold leaf. Kintsugi achieves that, the repair is obviously intentional, but the shape and form of the lines are not.