Korean ceramics is one of my most prominent interests. While it is not fancy or colorful, it is an elegant depiction of beauty. As we push forward in the 21stcentury, many of the Korean traditional arts and ceramics are being forgotten due to innovative progressions in contemporary arts. I try and find a place for my work in contemporary art while respecting the culture I hold dearly. My practice is a link to my home and my culture. The farther away I am from it the more I want to strengthen my connection. Wheel throwing is the tool I use to pay homage to what I consider important. I can meditate while throwing repetitive forms and accumulate my feelings of and for home. As I am throwing these forms, or pots, I am practicing traditional Korean techniques and forms and integrating new elements. As I continue to practice these traditional techniques, I want to change the way the objects themselves are viewed. I do not like the thought “a pot can only be about utility or as a single object.” That thought does not acknowledge the function outside of its uses or how it communicates to its neighbor. I use multiples to create an environment. Each pot I throw is just one small part of the work; the work not complete if one is missing. Like my thoughts and feelings for my culture, my work cannot be separated into bits. They exist together, building and growing with one another.
— Seong Weon Lee
Seong Weon Lee received her BFA in 2015 from New York State College of Ceramics at Alfred University and currently is MFA candidate at Cranbrook Academy of Art. Before attending Cranbrook, in 2015, Seong Weon Lee was an artist in resident at Korea Ceramic Foundation: Incheon Cerapia where she achieved 3rd place in Gyeonggi International Ceramics Biennale (GICB) in 2011.