There are two things that we notice first as we drive up to Song Joeng Gi’s studio, one is a large multichambered wood kiln with an enormous stack of pine wood and the other is a profusion of little towers set under the trees. The wood kiln is an obvious necessity for a busy studio but the little towers are not his, he explains. They are a neighbors beehives, each one a little busy honey factory. Errant bees are visitors for the whole of our studio tour.
Song Jeong Gi is a functional potter of tremendous energy. Stacks of pots totter and tip all over the floor of his studio and showroom. Cups, plates, bowls, mugs and teasets are everywhere along with little heaps of shards denoting accidents or the intentional breakage of inferior pieces. Over cups of tea we attempt to understand the vivid flow of words. A potter friend helping to translate says “Even though I speak Korean I don’t understand”. Eventually a view emerges of a potter who believes in working at speed without regard to incidental failure in quest of an unconscious mastery of the skill needed to produce great pieces. He likens the process of brushing white slip over his buncheong bowls to the unerring sweep of the wind.
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