Woolda began with the wrinkles and contractions that formed as ottchil dried differently than expected in Jeju’s high humidity.

Although these changes might be considered flaws or failures by the standards of traditional craft, Kim Chang-ok chose not to remove them. Instead, he accepted them as unique traces created together by ottchil and the environment of Jeju.

The surface where the ottchil has “cried” resembles human emotions that cannot always be controlled.

Rather than depicting sadness directly, the work shows how wounds and a sense of absence can, over time, transform into patterns and depth.

The ottchil cries, emotions seep in, and their traces remain on the surface of the work.