Clay is a medium of forgiveness; I value clay for its malleable quality that is capable of capturing fleeting facial expressions. I chose it as a medium because it is able to express the transience of human emotion.
The tactile quality of clay develops a form and creates texture. The white earthenware becomes modeled faces; facial expression is combined with narrative detail to create complex personas. When form is finished, it becomes a blank canvas for color exploration through vigorous multiple firings.
The variety of technical issues, such as construction and firing, challenges and forces me to work in my studio for long hours with intensive physical labor. I enjoy the time that allows me to become myself and sometimes I feel my body and hands move automatically within the work. The organic process of creation which is governed by my hand, soul and heart can only be stopped when I feel the piece reflects the ambiguity of human feeling. To capture the moment, I should be in a flowing movement of manipulation of clay.
Although each piece has its own story, it conveys various meanings to viewers based on their own memories and imagination. The infinite views offered by three dimensional artwork challenges viewers. There is neither beginning nor end. It depends on where he/she is and sees.
Before I encountered ceramic arts, I worked as a painter. The spontaneity and dynamics of brush painting have been transformed naturally onto my ceramic forms. Early work was a process of trial and error. The radical difference between the two genres lies in their dimensions.
This new body of work has been developed over the last six years. The figurative ceramic head forms were the result of my color exploration at many different firing temperatures. The dynamics of sculpted form, brilliant glaze and lustrous color set out to capture the range of human conditions.