Before beginning work, he explores the raw clay inherent in nature.
The monotonous contrast between the base clay and the base clay characterizes Boonchung's work.
This contrast complements the colors of the canvas, which can easily appear dull, and enhances its density.
While he sometimes visit the mountains adjacent to his studio to collect raw clay,
he also explores the hills of relatively less developed areas.

Traces of black-glazed porcelain can be found in local kilns across Korea, dating from the Goryeo Dynasty to the Josun Dynasty. Although this type of porcelain does not constitute a significant part of Korean ceramic history,
artifacts and fragments discovered at various kiln sites indicate its widespread production and use.

Historically, Korean ceramics favored brightly saturated colors, such as celadon and white porcelain,
which meant that black vessels likely received little attention from the upper class.
However, from a modern perspective, Korean black-glazed porcelain harmonizes beautifully with the rich black hue of ink
and the varied colors resulting from kiln deformation on the glaze surface,
creating an aesthetic reminiscent of monochrome paintings.
While this color may have previously gone unnoticed, I aim to highlight and explore the beauty of black-glazed porcelain.

Mountains appear static when viewed from afar, but as they approach, they transform into dynamic forms.
They appear as planes and three-dimensional at the same time.
After becoming aware of his own changing visual experience during his brief visit to the mountain,
the mountain transformed from a familiar presence to an intriguing object.
This experience, repeated numerous times, led me to explore and express the dynamic and static aspects of natural objects.