SHINHYEOK HA | Words from the Artist

ON INSPIRATION

In Korea, mountains are visible from almost anywhere. Growing up, I was surrounded by nature and closely experienced its changes and rhythms. I often found myself gazing at mountain ridges, letting my thoughts wander. Spending time in nature, I observed the shifting colours of the sky, the way mist envelops the mountains, and how water seeps into the earth. These experiences naturally deepened my appreciation for clay as a material, eventually leading me to ceramics as a medium to capture the forms and emotions of nature.

For me, ceramics is not just about shaping objects; it is an immersive process where the physical act of working with clay intertwines with the passage of time. This process creates moments of deep concentration and meditation. Through my work, I strive to express this connection between nature and myself.

ON THE VESSEL

I believe that one of the fundamental qualities of ceramics lies in the form of the vessel. Vessels are among the most primitive and enduring forms used by humankind, serving not just as functional tools but also as objects that hold time and memory. Rather than approaching vessels purely as utilitarian objects, I explore them as sculptural forms that express both emptiness and fullness through their shape and texture.

In ceramics, the vessel acts much like the canvas does in painting—it defines the medium and provides a foundation for artistic expression. I do not see the vessel as merely a physical structure, but rather as a space where concepts of form and emptiness interact. The process of hand-building each layer, slowly stacking the clay, represents an accumulation of time. Through this method, the vessel becomes more than just an object; it becomes a narrative, embodying the passage of time and the traces of its creation.

ON TRADITION

My work is rooted in the traditional “vessel form (器形)”, which I reinterpret through a contemporary sculptural language. In particular, I draw significant inspiration from East Asian landscape painting (산수화, 山水畵).

The sense of depth and spatial composition found in landscape paintings closely aligns with my artistic exploration. Rather than merely depicting scenery, traditional landscape paintings use negative space and ink diffusion to convey the fluidity of nature and the vastness of space. I aim to capture a similar sense of depth in my ceramic surfaces. To achieve this, I employ the coiling technique, meticulously hand-building each layer and gradually shifting the tones of the clay to express the passage of time and depth.

A key element in my work is the natural flow of the clay’s texture. The fine traces left behind in the hand-building process resemble the brushstrokes of landscape painting, embodying nature’s organic structure. These subtle textures are not merely surface details but rather accumulated marks of time, physical imprints of the hand’s movements. Instead of striving for a perfectly polished surface, I allow the warmth of the hand and the density of the process to be visible. Through this approach, I seek to visually express time as an intrinsic part of the work, embracing the depth it creates.

ON DESIGN

My design process evolves from an exploration of time and flow in nature. Rather than relying on spontaneous gestures, I develop my forms through the repetitive act of layering clay. I use the coiling technique, methodically hand-building each layer, allowing the natural texture of the clay to emerge organically. I do not intentionally alter or erase these marks; instead, I leave them as accumulated traces of time within the work.

I place great importance on achieving a harmonious flow between form and surface. While my ceramic forms remain simple, the delicate variations created through the layering process become a central aspect of my design. Through this approach, my work not only engages in a sculptural exploration but also visually expresses the inherent qualities of clay and the passage of time.

Landscapes

My work is deeply inspired by nature, particularly the way East Asian landscape paintings (산수화, 山水畵) depict space and depth. Landscape painting is not merely a depiction of scenery; it captures the movement of space through negative space and ink diffusion. I integrate this concept into my ceramics by avoiding artificial decoration and instead allowing the natural buildup of clay layers to form the surface patterns.

During the hand-building process, organic surface textures emerge naturally, much like brushstrokes in landscape painting. These marks are not just surface details; they are records of time and movement - the direct traces of my hands at work. Through this process, I seek to create ceramics that go beyond functional objects, existing instead as sculptural forms that embody the passage of time and harmony with nature.

ON MATERIALS & TECHNIQUES

Clay

I primarily use clay produced in Korea, but when expressing specific colours, I also incorporate clay from Japan or the United States. However, I do not limit myself to a particular region or origin when selecting clay. Instead, I choose the most suitable type based on the needs of each piece. Just as a painter selects pigments to achieve a desired effect, I carefully consider the properties of the clay to align with the flow and intention of my work.

Glaze

In my work, glaze is used solely for practical purposes, applied only to the interior of the vessel. This decision is based on functionality, allowing me to minimise the use of glaze and focus more on the essential expressive qualities of the piece.

The colour and texture in my work are not derived from glaze but from the natural tones of the clay and carefully mixed pigments. I consider the organic texture of the clay and the layered traces of the building process as significant sculptural elements. By limiting the use of glaze, I emphasise the raw materiality of the clay and the way time leaves its mark on the surface.