Lush-stemmed plants grow in the garden, and vases fill every shelf within eye reach. This is the 'Saie Pottery' studio, nestled peacefully on Bukseong-ro in Daegu. With flowers and trees by their side, the mother applies lacquer tree sap to pottery, while the daughter paints park grass onto the pieces. These two spend their days diligently shaping nature. It has been eight years since this mother and daughter, both trained in ceramics, met and established this studio. In this studio where work and daily life are intertwined, they spend the seasons making pottery and sharing meals. In the midst of this, pottery blossoms between mother Lee Mi-ok and daughter Kim Min-ji.

The workshop is spacious and cozy. It’s like order within disorder. The ceramics also seem to be naturally arranged exactly where they belong.

Kim Min-ji: Is that so? (Laughs) Actually, when we first set up the studio, the space was much smaller than it is now. As the number of students wanting to learn pottery increased, we found ourselves lacking enough workspace to create our pieces. About two years after my mom and I started working together, we decided we wanted to experiment by making a variety of ceramics. So, we expanded the workshop and moved here. At first, it was just an empty building, but we planted trees in the vacant lot, created a pond, and set up a small garden. We also got a potter's wheel and installed a kiln for firing pottery.

I run a ceramic studio with my mother and mentor, artist Lee Mi-ok. I heard that you established Pottery as your main brand amidst a product line primarily consisting of tableware, and divided your sub-brands into three lines. What kind of products do you produce in each of these three lines?

Lee Mi-ok : First, 'Saie Crafts' is a line I operate. We proceed using classic methods, such as employing the Dotae-chilgi technique—applying traditional lacquer instead of glaze to the ceramic surface—and firing the pottery in a wood-fired kiln. In particular, through the Dotae-chilgi process, the lacquer and ceramics harmonize softly, aiming to approach people in a familiar way.

'La Ensalada' is completed using the Yeonrimun technique, which involves combining clays of different colors to create patterns. Pigments are mixed into the clay to produce colored clay, and then different colored clays are joined together to form the patterns. The process is quite challenging. I recall an instance where I attempted the Yeonrimun technique in the winter, and only about a third of the pottery came out intact. However, I enjoy the unfamiliarity that arises when new patterns are constantly emerging and the harmony of colors feels unexpected.

Kim Min-ji's 'Rosie Grove' primarily uses the hand-building technique of shaping clay by hand, though sometimes she also molds each piece individually using a potter's wheel. She aims to incorporate colors and forms inspired by nature into her ceramics.

We mostly create pieces for our three lines one by one, but sometimes, once a piece is finished, we feel reluctant to release it. It takes quite a bit of effort to photograph each one, add descriptions, and upload them to our website or social media. Honestly, while I know in my head that stable mass production is economically more advantageous when making ceramics, what truly resonates with us are pieces that always have the potential to take a different direction. I also enjoy exploring unique forms by experimenting with various approaches every time. I feel stifled when I find myself confined within a mold. I want to continue creating diverse products in the future, anticipating unintended discoveries and unexpected results.

Even if you go slowly, if you both walk steadily at your own pace, Sai-ui Portery will become solid. Of course, it already looks stable now, though. Is there a principle that Sai-ui Portery strictly adheres to while producing a variety of products?

Lee Mi-ok : I would point to functionality and usability. Especially with tableware, I consider whether the user can use it without any issues. I believe people should be able to use it comfortably while eating. For example, when setting the table, I want our dishes to harmonize beautifully with the food we prepare, and I want people to intentionally take out our dishes when entertaining others.

Kim Min-ji : That’s right. Especially since Saie Crafts is a high-end line and the prices are quite high, many people buy items like the Dotae tea bowl hoping they will serve as decorative objects. However, we make them so that they can be usefully utilized in everyday life when the desire to actually eat and drink comes to mind later. That is why I tend to work by completely excluding glazes that are unsuitable for tableware. To make it easy to use in daily life, I even consider the weight and grip of the clay—so that the pottery fits perfectly in the hand.

I imagine you two have similarities, but also differences. How do you view your daughter as a ceramic artist, and how does your daughter view her mother?

Kim Min-ji: You know , anyone can reach a certain level just by continuing what they've been doing. It's a remarkable feat just to work steadily while maintaining that level, but Mom doesn't stop. Just when you think, 'By now, Mom must have done everything she wanted to do,' she takes on a new challenge. One of those is lacquerware.

Pottery alone is hard work, so doing lacquerware as well is honestly not easy. When she said she was challenging herself in both fields at the same time, I honestly wanted to dissuade her. A few months ago, my mother slipped on the stairs and got seriously injured. At that time, the exam for the Cultural Heritage Restoration Technician (lacquerware) certification was taking place, and even while she was hospitalized, she insisted on going to the exam. You know, even if you take the exam in normal condition, it is extremely difficult to obtain the certification. In the end, she earned the certification by fighting through her injury. Seeing her not confined by a set mold and pass such a difficult certification in one go makes me respect her as a potter.

Lee Mi-ok’s daughter was born with a natural sense. Her eye for ceramics was extraordinary, and she mastered pottery-making techniques exceptionally quickly. She has now reached a point where she can create works that reveal her own individuality. She often sits in a park bathed in midday sunlight, gazing intently at trees with swaying leaves, and she captures the emotions she receives at that moment perfectly in her pottery.

You have the talent to create your own unique works. Even if I am no longer with you, I hope you continue to move forward, capturing the world you see in your art. Even if it is a shame, you have to let go when the time comes.

So, the reason Pottery exists between you now is because you sincerely respect each other's work. Your daily lives and work are closely intertwined, so I imagine there must be a process of adjusting to one another while working together, involving conflicts and compromises.

Kim Min-ji : That's right. When we first started working together, there was a lot of conflict. We argued at home, we argued in the studio... We fought tooth and nail morning and evening. (Laughs) Even though we are family, there is a generation gap between my mom and me. Back when I was young, there were times when her way of doing things seemed old-fashioned. Looking back now, eight years ago, I think I was the root cause of all the fights. My mom gave in a lot. I'm not as flexible as she is, but she tends to absorb new things well, so I learned a lot from watching her.

Artist Lee Mi-ok is steadily continuing her individual work, holding an exhibition themed around small tables, while Artist Kim Min-ji designed the cover for the essay collection *Under the Summer Light*. As artists, what are you each currently most interested in?

Lee Mi -ok : Ever since I was young, I have thought that objects made of lacquer were beautiful. Wanting to learn more, I went to graduate school and began to properly study lacquerware. Recently, I have been working on *dotae-chilgi*, which combines lacquer and mother-of-pearl inlay with ceramics while preserving the lines and function of the *soban* (small table). I have captured the colors, patterns, and forms that I find beautiful in these *soban*.

In the past, sobans were used solely as tables, but nowadays, they are also used as trays. While harmoniously blending the luster of lacquer with the elegance of ceramics, I envisioned a way for people to use them more easily in their daily lives. Currently, I constantly contemplate ways to get closer to the public without being confined by tradition.

Kim Min-ji happened to paint a watercolor on a small piece of Hanji, and the aura of the colors spreading softly struck me as charming. Author Hwang Su-young, who wrote the essay collection, was a friend who had stood by my side for a long time, and I did my first cover design work after being commissioned by the literary publisher 'Byeolbitdeul'.

I wasn't someone who had consistently painted on paper, so I felt a bit shy, but I painted little by little whenever I had some spare time. There is a gap between the appearance I envisioned and the finished work when I apply paint to ceramics and fire them in a kiln. I want to keep holding onto the beauty I first saw. On the other hand, when I pick up a brush and paint on paper, that beauty appears immediately. There is a certain pleasure in painting watercolors on Hanji in that I can see beauty relatively quickly.

I heard that you spent your childhood in Seongju, North Gyeongsang Province. It seems that memories of growing up in the countryside naturally permeate your work; did you also incorporate colors and forms found in the nature of Daegu into your ceramic work?

Kim Min-ji : Yes. I often visit Dalseong Wetland in Daegu. From spring to autumn this year, I participated in an urban park documentation project where I created ceramic works expressing the scenery of Dalseong Wetland as I observed it. It is an activity where five artists archive Daegu's parks, both large and small, as cultural records. I captured in my artwork what I witnessed and sensed while strolling through the park.

Dalseong Wetland was originally famous for its reed fields, so I mainly visited in the fall. This spring, I went on an outing with my husband and mother, and I realized that I hadn't even seen half of the true beauty of Dalseong Wetland. Over the course of several seasons, I slowly sketched Dalseong Wetland, trying to capture the fleeting moments of nature that came to me.

I believe pottery is a product of the combination of mental and physical labor. One must understand the properties of the clay and take care to prevent problems from occurring during the firing process. I would like to know if you both make efforts to maintain your daily lives while engaging in this kind of work.

Kim Min-ji: Is it okay if it's something small? I always try to enjoy my meals in a comfortable atmosphere. (Laughs) As if I were being treated like a guest. I serve my food neatly in the ceramics I made.

Sometimes I visit shops run by my colleagues or friends. There is a photography bookstore called 'Not Only Books' in Bongsan-dong, and the owner is a friend and a photographer I admire. I love the curation of photography books at Not Only Books, so I spend time there and often gain energy by chatting about trivial and pointless things. I also get inspiration by visiting the independent bookstore 'Ghost Books' in Dongmun-dong to browse the books.

Lee Mi-ok: I feel most comfortable enjoying my daily life at the workshop, but sometimes I drive out into downtown Daegu with my daughter. Since we both love plants, we often visit the flower market located behind the Lotte Department Store in Daegu. We also go to the horticultural complex at the foot of Palgongsan Mountain and spend a long time there. When I rest and spend time with plants like that, I find that I regain the energy to make pottery when I return to the workshop.

I heard that your husband, Artist Kim Min-ji, is also active as an illustrator in Daegu. It feels like you are shaping Daegu's culture together as a family. As ceramic artists each pursuing their work in Daegu, do you have any goals you hope to achieve in the future?

Lee Mi-ok: I want to continue my work in Daegu without missing out on the constantly changing trends in ceramics. Whether in Seoul or Daegu, I want the ceramics we create to always be new, without any regional differences.

Kim Min- ji: I don't have any grand dreams of achieving something significant in Daegu. However, I have asked myself many times, "What if I moved to Seoul or another region?" but I decided that the relaxed atmosphere and leisurely pace of Daegu suit me.

There are cases where brands based in Daegu eventually move to Seoul. However, I believe it is incredibly important that someone in the region continues to consistently pursue their work. I hope that seeing such people will inspire others to feel that they can certainly succeed in Daegu as well.

Maker's Pick

Brand Line 3, imbued with unique beauty

Saie Crafts - Rakudote Tea Bowl

Raku work is typically difficult to use as tableware due to the characteristics of the vessels, such as cracks caused by rapid cooling and vulnerability to impact. Through multiple layers of lacquer, artist Lee Mi-ok has transformed teacups beyond mere objects into objects suitable for drinking tea in everyday life.

La Ensalada - Yeonrimun Mug

A mug made using the Yeonrimun technique, which involves mixing two or more colored papers together or joining sheets to create a pattern. The name La Ensalada was given because the way the various colors mix resembles a salad.

Rosie Grove – Leneté Incense Holder

It can be used for two purposes: as an incense holder and a picture frame. It is recommended to insert incense sticks into the two holes of different sizes and arrange clay flowers inside. When not being used as an incense holder, you can attach it to the wall and view the back of the holder as a small picture frame.

Edit Danbee Bae, Gyeongju Cha

Photograph Yeseul Jun