I first started ceramics during my junior year of college. That was when I became fascinated with the idea that I could create something purposeful using something as simple as a ball of clay. I continued my study of ceramics more intensely during my senior year, specifically focusing and honing into 15-17th century Korean art.

For my final installation project during my senior year, I created a visual representation of Korean moon jars. The moon jar is one of the pinnacles of Korean ceramics, so I felt that pursuing mastery of this form would best help me connect back to my heritage. As a Korean-American artist, I conflict over identity and how I want to represent myself culturally; I feel an obligation to exhibit and focus on Korean art, but also negotiate with the fact that I resonate most with American culture as I have lived here longer than in Korea.

My inspiration for Korean ceramics mainly stemmed from my history thesis in college. I investigated the tributary relationship between the Joseon Kingdom and the Ming Empire. This is where I first learned about the moon jar as well as the importance of celadon in the trade of culture between the two states. This expanded how I formed my perception of ceramics. The fact that ceramics could bridge gaps between two very distinct cultures and inform each other of what was considered valuable helped me understand the importance of the moon jar form.

Now, I am continuing to hone my specialization in this era of Korean ceramics, while simultaneously exploring intention in my works.