“I first encountered Onggi in the spring of 1993… I was completely transfixed… What stayed with me was the profound presence of that vessel and the quiet authority of the hands that shaped it.

That moment marked the beginning of a long journey for me. Onggi was not just a form or technique; it was a way of being in dialogue with the earth, with history, and with the body. It stirred something elemental in me - a respect for raw clay, a fascination with physical process, and a desire to root my practice in something honest and enduring.”