In the series titled Vessel, South Korean photographer Koo Bohnchang documents rare white porcelain ceramics from the Joseon Dynasty (1392-1910). Inspired by a photograph showing Anglo-Austrian ceramic artist Lucie Rie beside a Joseon vase, Koo began the project in 2004, embarking on extensive travels—covering over 64,000 kilometers—to museums worldwide to capture images of these culturally significant objects.
Set within the context of Korean cultural heritage, Vessel reflects the historical dispersion of Korean artifacts during the Japanese occupation (1910-1945), when numerous ceramics were displaced. The project, therefore, becomes an artistic act of reclamation, symbolically "returning" these scattered items through photographic reunification. Porcelain vessels from the Joseon Dynasty, embodying Confucian ideals of restraint and modesty, resonate deeply with Korean identity, mirroring social values that highlight moderation and humility.
Koo treats each ceramic vessel like a portrait subject, focusing on their individual forms, textures, and histories, thus highlighting subtle aspects often overlooked. His deliberate use of a large-format camera and prolonged exposures, combined with narrow depths of field, emphasizes the vessels' gentle contours and worn surfaces. White textured Japanese rice paper or Korean Mulberry paper often serves as the backdrop. Accentuated by soft lighting that underscores their timeless character and quiet grace, the resulting photographs exude a serene, ethereal quality.
Exhibited internationally—most notably at Kukje Gallery (Seoul) and in Plain Beauty at the Philadelphia Museum of Art (2010)—Vessel also featured in Chaotic Harmony (MFA Houston; SBMA, 2009–10) and later anchored Koo’s retrospective at the Seoul Museum of Art (2023–24). Works are held by major collections including SFMOMA, the V&A, the British Museum, and Leeum.
