[Interview] Following the path of Jinsoo Park at Han Collection

4482
Jul 7
5 min read

4482 [SASAPARI]’s relationship with Han Collection dates back to 2018, when we were organising our very first artist talk. At the time, we were looking for a suitable space to present the work of an artist whose practice centred on clay-based installations and performance rather than traditional craft techniques. It was then that a lead curator recommended the Han Collection. We had primarily known the gallery for its focus on antique ceramics and classical Korean crafts, and we weren’t sure whether the artist’s experimental approach would align with the gallery’s vision. However, the gallery director, Mr Jinsoo Park, welcomed us warmly and offered the space without hesitation or condition - a gesture that has remained with us with lasting gratitude. The quiet elegance and openness of the space made a profound impression on us, and it became the first of many reasons why the Han Collection continues to hold a special place in our memories.

This article is a reflection on that connection - an exploration of Han Collection’s beginnings, its thoughtful evolution, and the broader possibilities of Korean craft in the global art world.

Where Han Collection Begins

Established in 2004 in central London, Han Collection has steadily introduced Korean art and craft to European audiences through a calm yet resolute presence. Its founder, Jinsoo Park, is trained in traditional Korean painting and holds a background in museum studies. After arriving in the UK in 1995, Park was drawn to museums and galleries, which eventually led him to pursue a degree in Museums and Gallery Management. Returning briefly to Korea to work in museum education and practice, he completed a PhD in museum studies upon returning to the UK in 1998.

What began with a chance encounter with Korean antiques developed into a focused collecting practice, and in 2015, Park opened a permanent gallery space on Museum Street in London. Initially centred on Korean antiquities, the gallery gradually expanded from 2016 onwards to include contemporary craft, such as ceramics, glasswork, and painting.

“It felt too limiting to focus solely on antiques. There are so many outstanding contemporary Korean artists,” he reflects.

Recalling the gallery’s early days, Park describes it as “like diving in headfirst without a safety net.” One of the greatest challenges was building a solid base of clients and collectors, a process that took significant time and patience, even after settling into the current location. Working with contemporary craft introduced new complexities - while antiques revolve around the object itself, contemporary practices require close collaboration with living artists, which involves careful negotiation and sensitivity. On the other hand, the ability to reproduce or continue a body of work is a distinct advantage of contemporary practice. “Both fields have their own unique appeal,” Park notes.

What sets Han Collection apart is its simultaneous presentation of serene white porcelain alongside the expressive vibrancy of contemporary craft within the same space. While Park is open to external exhibition proposals, he insists on showcasing only works he personally connects with and believes in.

Stillness and Becoming

Although Han Collection’s concept may have been unusual when it opened in 2004, Park believes the British historical context was in fact favourable for the reception of Korean antiques, particularly ceramics. “Goryo celadon has been collected in the UK since the late 19th century. Institutions like the Fitzwilliam Museum began acquiring Korean ceramics as early as the 1920s, and even Bernard Leach once said that the origin of pottery lies in Korea.” He believes that the materiality of Korean ceramics - their silent, immediate impact - is one of Korean craft’s greatest strengths.

Yet transitioning from historical artefacts to contemporary craft came with new challenges: how could Korean contemporary craft establish a compelling presence in the international market? Park cites “flexibility” and “artistic completeness” as crucial elements. “Rather than forcing something to look ‘Korean’, it’s more powerful when that essence is embedded naturally. When people realise a beautifully modern object was made by a Korean artist, that’s when it resonates most.” Instead of repeating traditional methods, Korean craft must embrace creativity and universal appeal to thrive globally.

He stresses the importance of Korean artists participating in international events such as Collect London, the Brussels Ceramic Fair, and the Révélations Biennale. Gaining real insight through direct experience, he insists, is more impactful than relying on domestic acclaim alone.

Echoes of the Past, Visions Ahead

When asked about the most memorable exhibition, Park names the solo exhibition of master ceramicist Shin Sang-ho without hesitation. Known for breaking convention in the 1980s by introducing gas kilns and reinterpretingbuncheong ware in contemporary terms, Shin’s exhibition - curated from early to recent works - left a powerful impression on visitors. “His creativity and experimental spirit continue to inspire the younger generation of ceramicists,” Park says.

Upcoming projects include a solo exhibition by Lee Chang-soo this autumn, and a special antique-focused showcase for London’s Asia Week, featuring rarely seen buncheong ceramics and still-life paintings known as chaekgado.

Every year, Park also leads a bespoke ceramics tour for a group of VIP clients. This year’s programme, designed to coincide with Shin Sang-ho’s retrospective at the National Museum of Modern and Contemporary Art, includes a two-week journey through Korea and Japan - visiting studios, museums, and historic sites such as Imari and Arita, following the traces of Joseon potters who influenced Japanese ceramics.

In parallel, Han Collection is preparing to further develop its presence in Europe through a targeted and strategic approach. “Serious collectors often avoid social media and large fairs. We have to go to them,” he says, adding that audience development remains one of the most urgent and long-term goals in the current art landscape.

For Craft to Travel Far

Park identifies three essential elements for the sustainable growth of Korean craft on the global stage: pride, flexibility, and collaborative practice. He shares a moving anecdote:

“One time, a foreign visitor teared up while viewing an antique piece. But many Koreans still have a deep-seated admiration for the West and often undervalue our own traditions.”

He emphasises the need for Koreans to first recognise the worth of their heritage and integrate it meaningfully into everyday life.

Traditional crafts should not be preserved merely for nostalgia but rather reinterpreted through contemporary lenses. Park recalls meeting the last remaining silver knife artisan in Jinju - whose skill was remarkable, but whose work lacked adaptation to changing times. Through creative collaborations, he believes such transitions have the potential to evolve and reach a wider audience.

He also highlights the need for Korean artists to understand international markets and present themselves convincingly.

“Fame in Korea doesn’t mean much abroad. Artists must articulate their distinctiveness and justify their pricing through experience and proven markets.”

Institutional support, both from cultural bodies and local governments, is also vital in providing artisans with opportunities to encounter and adapt to changing times. Park believes creative partnerships are key to ensuring traditional crafts remain relevant and alive for future generations.

Han Collection bridges tradition and modernity, scholarship and artistry, collecting and exhibiting. The growth was not through quick wins but through a long-term, thoughtful approach that continues to quietly extend the reach of Korean craft.

May Han Collection continues to share the beauty and spirit of Korean art at its own pace and in its own voice. We wholeheartedly support Jinsoo Park’s profound curatorial vision and warm commitment and look forward to seeing Korean craft take deeper and broader root in the global cultural landscape.

www.hancollection.co.uk

@hancollection.london