Please introduce “Grinning.”

“Grinning” is the personal brand of ceramic artist Lee Hyeyong, where the artist’s own name represents the brand’s identity more than a business title. Centered on the spirit of beopgochangsin (“creating new value by learning from the old”), the brand reinterprets traditional hats of the Joseon Dynasty through ceramics, bringing the spirit and aesthetics of tradition naturally into modern daily life. Founded in 2022 as a preliminary resident entrepreneur at the Gyeonggi Craft Creation Support Center, the artist now works as an early resident artist, continuing to explore the essence of craft that connects tradition and the present.

The shape of the traditional hat is quite charming. How did you first come up with the idea?

Traditional hats from the Joseon Dynasty are not merely items of attire but symbolic legacies reflecting social status, etiquette, and refined aesthetics. The artist was inspired by the structure and meaning of these hats, beginning with the question, “What if this form could be reinterpreted through a modern lens?” Motivated by a desire to see tradition not as a relic confined to museums but as a living culture, the artist infused Korean aesthetics into the everyday act of burning incense. The result is a piece where the past and present coexist, allowing the rising scent of incense to carry the spirit of tradition into daily life.

What did you focus on most when creating the product?

The greatest challenge was recreating the delicate lines and proportions of traditional hats through the material qualities of ceramics. While the original hats were made from light and flexible materials, ceramics are their opposite—solid and heavy. It took dozens of trials to find harmony between these contrasting properties. Rather than simply replicating the form, I aimed to create a new visual experience through the unique texture and light reflections of ceramics. My goal was to make an object where practicality and sculptural beauty coexist, a goal I never let go of throughout the process.

What was the most challenging part of the production process?

Traditional hats are made from light and delicate materials, while ceramics - which vary greatly depending on kiln temperature and clay density, are difficult to shape in the same way. Even the slightest difference in proportion could change the overall impression, so I made countless adjustments to the form, color, and curvature. Through repeated firing and glazing tests, I sought to preserve the graceful lines of tradition while expressing the distinctive, weighty beauty of ceramics. The process reminded me once again how delicate and intricate “the act of not simply reproducing, but re-creating tradition” truly is.

How did participating in the contest help you the most?

This contest gave me the opportunity to see my work not only as an artwork but also as a “product.” In the past, I focused mainly on artistic value, but now I consider what happens when the piece reaches consumers. Keeping in mind the nature of a “tourism souvenir,” I made careful adjustments to portability, price, packaging, and user experience. Through expert mentoring, I learned “how to extend the beauty of my work into market appeal,” which became the most valuable part of my growth. Experiencing the entire process from production and packaging to branding and storytelling greatly broadened my perspective as an artist.

Please tell us about your future plans.

In the short term, I hope to use this award as a chance to share my work with more people. In the long run, my goal is to develop two lines that evolve side by side. One is the “artwork line,” which artistically explores tradition, and the other is the “lifestyle line,” which naturally blends into everyday life. I plan to continue presenting new series of pieces inspired by traditional hats and hope to let the beauty of Korean tradition quietly infuse daily life around the world.