As the son of immigrant parents, I am often situated between cultures. Living and working in metropolitan centers such as New York, Chicago, Shanghai, Seoul and Vancouver, as well as the rural communities of Alfred, Jingdezhen and Helena has continually raised questions of identity and assimilation. My experiences range from being an outsider in the country of my heritage to that of being a minority in Montana. Growing up as a second generation Korean American, my identity has felt neither fully Korean or American, and it is through my work where I investigate topics of place and belonging.
I cross-reference historical forms and traditional decorative elements, East and West, to set up unfamiliar, discordant or ironic relationships. Examples include the iconic Moon Jar, a revered vessel from Korea’s rich ceramic history that has become a symbol of Korean culture, identity and pride. Contemporary Asian figures and characters like Bruce Lee and Godzilla were the rare relatable heroes in my youth that were accepted into mainstream culture. I am also fascinated by the power of color symbolism which can be used to convey patriotism or to categorize race dependent on the culture and context they are viewed in. By utilizing these references, it helps me reflect upon my identity as a Korean American and the imperfect relationship regarding dualities of cultural association.
Intentionally deconstructing vessels recalibrates notions of classical perfection and beauty and seeks to critique ideas of failure and expectation, craft skill and the innate value of an object. By making porcelain vessels intended to crack in the firing and morphing decorative practices, I am challenging a deep history of craft protocols and questioning the boundaries and authenticity of identity, ownership and intent.