[This was from 24th Sept 2017 when the master class was held at Middleport Pottery in Stoke-on-Trent as part of British Ceramics Biennale 2017. ]
We had Q&A session throughout the whole day and these are some that I remember from the day.
- When did you know you were an artist not a potter?
I never thought I was making a bowl but considered them as a piece of art work. Artist to me is one who goes beyond the technical ability as techniques are techniques. You have to have the deep connection with clay and put your soul in finding your style of work.
- To watch you decorate the pot at the opening was amazing, what is it like for you?
It is all about what I feel, I do not think when I decorate my pots. I put a piece of Korean drum music (samulnori- 사물 놀이) that is about 7 minutes long when I decorate and that gives me the energy. I use more energy during that 7 minutes than when I make the pot (the pot at the opening was nearly 2 meters tall).
The pot KangHyo decorated during the opening ofBritish Ceramic Biennial 2017 at Stoke-on Trent, Spode. (Apparently, the pot was made over one and half day long but it would have only taken half a day if he was in Korea as different clay and climate were the factors to the making process.)
- What influence has it make on you and your work whilst meeting famous artist/maker from all over the world?
My work does not take immediate change with the various influences and experiences although it's all in my mind and I think it fliters through my work very gradually. However, what has really changed is my life style. I have really learnt, especially visiting European countries, to make time to rest and play as Korean tend to work all the and do not know the importance of playing.
- I understand that you studied in Seoul but travelled to southern provinces to learn the Onggi making but faced with resistance. Why did you still want to learn to make Onggi and why were you attracted to Bunchang (분청) style?
At university, Onggi making was not taught as Onggi are often made by Onggi masters who have been handed down the techniques as a means of making a living out of making and selling Onggi. They are often less educated people (maybe only until primary school?) but with great skills and they thought it was strange for someone like me to learn to make Onggi.
Because the Onggi clay creates a very dark body, it was natural for me to use a bright decoration style that Bunchang style.
