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Decor

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Welcome to
Seoul Sister Studio

Jee Wipperfurth is the Bay Area ceramicist behind Seoul Sister Studio, a producer of small batch, handmade items. Her love of ceramics began over 17 years ago when she took her first class at the Palo Alto Art Center as a way to break up her long commute home from Silicon Valley.

Jee is an engineer by education, a teacher and a designer by profession, a lover of architecture (what she considers the ultimate marriage of art and function), and an appreciator of the various natural landscapes that are the Bay Area. Her kaleidoscopic background and interests influence her work, which she considers a balance between the orderly and the organic.

When Jee is not in the studio, she can be found on Bernal Hill with her dog, Mo, at an ice rink or soccer field watching her (step)son in goal, climbing or bouldering, or in Healdsburg.

 

Dinnerware

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My Ceramic Process

Fortunately (and unfortunately), ceramics is a highly process driven activity. There are at least six steps to make a single item, from weighing and wedging the clay to final firing, and that does not include the inactive time of waiting for the clay to get to the optimal state and checking on items to make sure they are drying properly. Porcelain is fussy and requires more attention than other clay bodies. My process includes the additional time consuming steps of carving and texturing my pieces and cleaning up those areas. My glazing process is often meticulous. I use color sparingly in a supportive role, so that the foci of my pieces are texture and carving. On average, a single piece will take several days before it is ready to be loved.

Et Al.

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Point of View

I have always been drawn to reductive sculpture because of its merciless process and often awe-inspiring results. Removing material in order to reveal a finished form requires deliberate actions with permanent consequences. There are no “do-overs.” Although working with clay is more forgiving than chipping away at stone, my work is reminiscent of reductive sculpture. I start with a form, usually a functional vessel, examine the salient characteristics, and then carve away and texturize the surface to reveal a revised object that feels true to its essence. Unlike some sculpture my objects are meant to be touched and held, since utility is a core characteristic. I enjoy making useful objects that evoke emotion.