Ceramics Monthly Articles (Simple)

In my practice, I question memory and recollection, art history, and functionality (both theoretical and practical). It is the union of these themes and topics that makes my work possible.

I use a variety of methodologies to develop my forms and surfaces. Currently, I have been looking through a book Parallel Botany by Leo Lionni, which is a fantastical world of fictional plants, and another book by Maria Barnas.

In my current portal series, I’ve been exploring windows and arches—things that we physically pass or look through. I borrow these architectural elements and conceptually frame them as portals or gateways to the past.

I feel that experimentation in one’s studio practice is rooted in their willingness to be vulnerable with the medium.

I’m interested in collective power. When you grow up feeling powerless, you’re taught to believe you have no say. But that’s a lie. Systems don’t change on their own—people force them to.

The inspiration behind my work comes from highly tactile processes—handcraft traditions like sewing, quilting, and knitting.

My research is multi-faceted, driven by my desire to capture moments of psychological realism. In addition to the study of anatomy, I’m fascinated by the brain-body connection, trauma responses, and the ways our bodies hold and tell stories.

Whether I am teaching in a classroom or talking with friends, I encourage everyone in my life to make something, no matter what it is or how good it turns out.

For me, working in clay is about shaping a narrative that reflects my identity as someone who is half Korean and half white.

I draw inspiration from various landscapes and how they evolve over time. When developing forms, I focus on volume and breath to convey growth, resulting in forms that appear to bloom from the table.

Having studied anthropology before pursuing ceramics, I have always admired the existing fragments of material culture from generations past, particularly metal cooking implements.

The nature of my work is chaotic and precarious. I can try to push against it, but it’s always more rewarding to see where it wants to take me.

Both the design and conceptual meaning are shaped by an in-depth study of women depicted in 17th-century historical paintings. Through sketches, I give these figures a new, contemporary meaning and place them in a modern context.

Inspiration for my surfaces comes from objects that carry a sense of history, nostalgia, and comfort.

My interests at the time influence the direction the piece takes, whether from art history, books, or personal experiences. I keep albums of pictures from history and everyday life that often become reference imagery for pieces.

Every piece I create is an opportunity to learn, and that continuous exploration is one of my greatest motivations.

Instruments can be made out of all sorts of materials, including clay. Such ceramic instruments can still be found in use in the porcelain capital of Jingdezhen.

Current and Upcoming Exhibitions

Water etching is a greenware surface treatment used to create relief. A water-resistant material is applied to greenware and allowed to dry.