In this episode of Creative Guts, co-hosts Laura Harper Lake and Sarah Wrightsman sit down with Yeonsoo Kim. Originally from South Korea, Yeonsoo is a full-time studio artist and educator living in Exeter with a focus on ceramics, in particular Onggi, traditional Korean earthenware used extensively as tableware, as well as storage. Yeonsoo was exposed to Onggi during a workshop his first year of University. In this episode, we talk about how Yeonsoo’s desire to continue making something new, how his work is influenced by his culture and the various places he’s lived, and how he strives to find balance (shoutout to the Exeter YMCA). Yeonsoo has a Bachelor of Fine Arts in ceramics and glass from Hongik University in Seoul and a Master of Fine Arts in Ceramics from the University of Georgia. He was named one of the top six emerging artists from the National Council of Education and Ceramic Arts in 2020. Check out Yeonsoo’s work at www.yeonsooceramics.com and on Instagram at www.instagram.com/yeonsooceramics. Listen to this episode wherever you listen to podcasts or on our website www.CreativeGutsPodcast.com. Be friends with us on Facebook at www.Facebook.com/CreativeGutsPodcast and Instagram at www.Instagram.com/CreativeGutsPodcast. If you love listening, consider making a donation to Creative Guts! Our budget is tiny, so donations of any size make a big difference. Learn more about us and make a tax deductible donation at www.CreativeGutsPodcast.com. Thank you to our friends at Art Up Front Street Studios and Gallery in Exeter, NH and the Rochester Museum of Fine Arts in Rochester, NH for their support of the show!
In this episode of Creative Guts, co-hosts Laura Harper Lake and Sarah Wrightsman sit down with Yeonsoo Kim. Originally from South Korea, Yeonsoo is a full-time studio artist and educator living in Exeter with a focus on ceramics, in particular Onggi, traditional Korean earthenware used extensively as tableware, as well as storage. Yeonsoo was exposed to Onggi during a workshop his first year of University.
In this episode, we talk about how Yeonsoo’s desire to continue making something new, how his work is influenced by his culture and the various places he’s lived, and how he strives to find balance (shoutout to the Exeter YMCA). Yeonsoo has a Bachelor of Fine Arts in ceramics and glass from Hongik University in Seoul and a Master of Fine Arts in Ceramics from the University of Georgia. He was named one of the top six emerging artists from the National Council of Education and Ceramic Arts in 2020.
Check out Yeonsoo’s work at www.yeonsooceramics.com and on Instagram at www.instagram.com/yeonsooceramics.
Listen to this episode wherever you listen to podcasts or on our website www.CreativeGutsPodcast.com. Be friends with us on Facebook at www.Facebook.com/CreativeGutsPodcast and Instagram at www.Instagram.com/CreativeGutsPodcast.
If you love listening, consider making a donation to Creative Guts! Our budget is tiny, so donations of any size make a big difference. Learn more about us and make a tax deductible donation at www.CreativeGutsPodcast.com.
Thank you to our friends at Art Up Front Street Studios and Gallery in Exeter, NH and the Rochester Museum of Fine Arts in Rochester, NH for their support of the show!
[INTRODUCTION
[0:00:00] LHL: I'm Laura Harper Lake.
[0:00:01] SW: And I'm Sarah Wrightsman.
[0:00:02] HOSTS: And you're listening to Creative Guts.
[EPISODE]
[0:00:18] SW: Hello, listeners. Thank you for tuning in to this episode of Creative Guts.
[0:00:21] LHL: Today, we're chatting with Yeonsoo Kim, a ceramicist from South Korea and a full-time studio artist in Exeter, practicing the art of Onggi.
[0:00:30] SW: Let's get right into the guts of this episode with Yeonsoo Kim.
[INTERVIEW]
[0:00:37] LHL: Yeonsoo, welcome to Creative Guts. It's so nice to have you here.
[0:00:40] YK: Thanks for having me.
[0:00:42] LHL: Your work is so beautiful. We've been kind of gushing about it. We're sort of swept away. So, would you like to share with our listeners who you are as a creative and what you do for an artistic practice?
[0:00:54] YK: Actually, my name is Yeonsoo Kim, who work in the clay mostly. So, I've been working on clay over almost 10 years. Now, I'm living in Exeter, New Hampshire.
[0:01:08] SW: I'm curious what brought you to Exeter?
[0:01:10] YK: Actually, my wife got a job at the Phillips Exeter Academy two years ago. So, we travel a lot. Montana, I was there and Houston, I was there. Since moving states, I travel a lot. I graduated school in Georgia, and I did a couple of residencies. Not only Florida, St. Pi, and also Montana and Houston as well. So, I feel like I find home, but I have no idea why I'm here, but life goes unexpectedly. Even though I make a plan to do, but that is the big reason to move to New Hampshire two years ago.
[0:01:50] LHL: How are you liking the snow that we've been having lately?
[0:01:53] YK: Ah, crazy. But I'm used to it when I was in Montana.
[0:01:57] LHL: Oh, yeah, that's true.
[0:01:57] YK: That's why I'm not so frankly shocked, but I'm missing spring and autumn season. The good thing about living in New Hampshire, actually, I can access beaches, and mountains, and a lot of the national park out there.
[0:02:11] LHL: Oh, absolutely.
[0:02:12] YK: So, I love it, because in Houston, I'm really sick and tired of heavy traffic and a lot of people out there. So, I love it. I love it in New Hampshire.
[0:02:22] LHL: That's excellent.
[0:02:24] SW: Thank you. So, when did you start creating ceramics?
[0:02:28] YK: That's a big question. I was in high school, because my art teacher actually, she had a double major, which means in sculpture and painting. At the time, I was thinking about only water color painting or oil painting. I'm really into this. Before I'm an artist, I definitely need to be a painter. But she has a chance to create some modeling sculpture, so I touched the clay. Somehow I love it. Then, as a Korean male, I have to go military service. Right after that, I had a chance to go to a ceramic studio to learn something.
That's the big reason to really involving, and as a material wise, and also, clay really putting joyfulness for me. So, that's why I still love it. First time, I still remember that day, I made some small tiny cup that I'm working on. It's not huge, I mean ugly pot, but I love it. I love the sense of touching and feeling. So. it feels like touching, really emerging in my senses into the direct medium that I'm working on. Because I used to draw with pencils and brushes, with certain spaces. But three dimensional is a different approach, a different perspective for me. So, that's how I love it.
Also, another reason for that, when I start the art history actually, end up courier with Picasso and Milos, they're really into ceramics. So, I didn't know why they focusing on ceramics. But for me, ceramics is really an attractive medium. I can do 2D and 3D together. So, even though a lot of work to do, a lot of events here, physically, mentally, but I still love it.
[0:04:19] LHL: Yeah, it's beautiful. I love how you've merged 2D and 3D in what you're doing and your style is so unique.
[0:04:28] YK: Thank you for saying that.
[0:04:29] SW: That it is. I really love, I appreciate the like references back to, so you're from South Korea and the references back to. Is it pronounced Onggi?
[0:04:39] YK: Yes, Onggi.
[0:04:39] SW: Yes. Can you tell our listeners a little bit more about that?
[0:04:43] YK: Onggi represent kind of kimchi pot as a people. I grew up in a small island. That means, I'm used to living kind of situation, because every single day, my mom asked me, "Yensoo, bring some soybean paste. We're going to cook tonight." Then, I open the Onggi, then take some Onggi paste, and then brought them. I'm now thinking about making Onggi when I was growing up, but Onggi is big part of the Korean's life.
There is a fourth season like Exeter. So, people enter December, we make some kimchi for eating during the winter season. So, that's why Onggi is just natural clay body, clay is natural which means, 50% of clay body, 50% of ashes, and the firing, that's it. So, this is the way to breathing in and out. This is the way to fermentation. That's so we can make kimchi, and soybean sauce, and soybean paste, even hot pepper paste like that. So, big part of the Korea's life, fermentation.
I had a chance to involve in a workshop and I was an undergraduate. I saw one of the Onggi pot, and I saw, they make a huge giant pot. So, it took just five and six hours, and then make one meter of height. I can't sleep at night. "Oh, I should learn this, how could I make it?" There is another way, on storytelling. That's the moment that changed my life as an artist.
Onggi is easy to see as Koreans, that's why if you're working on a porcelain or some different ceramics, you might be more available than Onggi because Onggi is very cheap, and that you can see everywhere. But I love this naturalism, I love the Onggi aspect. Onggi is upon to utilitarian, kind of to use for people. After you keep using that, it's going to disappear, end of the era. So, that's why I love them. I love the meaning of the Onggi, and that's why I still love it. That's why I still make Onggi.
[0:07:00] LHL: Are there a lot of other artists making Onggi still?
[0:07:03] YK: In the state?
[0:07:04] LHL: Mm-hmm.
[0:07:04] YK: Not many of them. As far as I know, I'm only one Korean Onggi potter living in state. I knew there are couple of American parrots, they studied in the South Korea couple of months and they make it, they make. And as far as – I don't know many of them in the state.
[0:07:24] LHL: Can we talk about the art that you draw on them? And I'm curious if you sketch it out on paper first, or do you just draw right on there? And what materials are you using to draw that?
[0:07:37] YK: When I do these, and I just grip sometimes pencil, sometimes different medium that I'm working on. If I want to get more sketchy kind of, I do start with a pencil drawing. Sometimes I change to chalk, and sometimes acrylic. But mostly, I do pencil drawing that I'm working on it. Because there's no limitation, there's no boundaries. I feel like warming up. I just thinking about what's going to happen and what I'm going to draw. So, I used to, because I went to the art school in South Korea, so people go to art school, I go to academy to learn how to draw, how to paint. So, I feel a little bit confident. So, that's why I'm not hesitating to what I want. But at the same time, since moving states, I'm thinking about myself. That means, I draw one of the face that I represent myself, kind of self-portrait somehow, and then, bring some ideas.
When I look at the hat and some tumbler on the table and I draw. And also, I try to collect some senses, and memories, and ideas. Lately, I'm thinking about relationship with myself. So, living in the state, which is good as an artist because it's the big marketplace, a lot of possibilities. That's why I really want to stay here, but at the same time, I'm missing home, and friends, and families. So, that's why when I draw something, I just try to collect them, bring happiness, putting meaning of my life. So, that's why you can see my drawing. I bring a lot of my past experience, and sometimes, for example, when I draw some munja, and sometimes paper, sometimes cups, and sometimes plate, and sometimes I draw inspiration by nature.
Fish is one of my favorite items because I was born and raised in a small island. So, not only
represent Christian as an artist, but also fishes represent ocean. Because when I make Onggi pot, I think about space. So, birds represent not only deliver message, a metaphor somehow, and describe, and depict by some sky. Also, I love landscape and some out of the houses. So, that's why I try to blend it together. There is no limitation. So, if it's like [inaudible 0:10:06] somehow, that's what I'm trying to do, make something new, because we used to, yes.
[0:10:12] LHL: Yes, you're putting your identity, themes of identity, and nature, and location. I think that's – especially when we talked about all the different places that you've lived, have different places influenced a little bit of what content that you draw on.
[0:10:29] YK: Of course. So, that's why everybody – as a human being, we’re influenced by not only human around us, but also nature. So, I still, one of my favorite hobbies to go beaches, and then I just took off my shoes, and sometimes running, and sometimes walk away. Then, when I'm hearing the sound of waves, and some people out there, and they play, swim, and surfing. I love it. Also, that place actually out of my stress out, everybody happy, everybody loving, everybody smiling, yelling, and playing something. That's what I really want to do. If I feel more energy to it, I want to go and go exercise. At the same time, beach is one of my favorite place to go.
[0:11:14] SW: It's beautiful. I think what I like so much about the artwork that's on the clay is maybe two things. One that, with some of these, if I just glanced at them, I'd think, "Oh, yes, there is a pattern on that pot and not think that much of it." Then, if you sort of zoom in and look at it, you see all of these things that start to show up. You notice the fish in the faces. Then, the other thing is that, if you put these on paper, I would also love them. But the fact that they're on a pot or they're on clay makes them so much more sort of interesting to look at. It's very cool.
[0:11:51] YK: Thank you.
[0:11:52] LHL: I also love how you incorporate color in, you're having like this very graphic line heavy design within your work, but then you have these bold sections of color as well. And so, how are you making decisions about how you're laying out the composition when it relates to color.
[0:12:10] YK: Such a good question. I'm not good sense of colors, to be honest. But as a maker, actually, we need to explore something new. I tried to, one more step. Somehow, I used to black and white, working on kind of a simple and mono kind of style of work. Since moving state to make something new, I tried to collaborate. Somehow, I collaborate with my past and present. Every single day, we are different. That's why, color is actually putting a lot of meanings for me. That's why, lately, I'm trying to – why don't you apply this one? Why don't you apply this one?
Actually, I'm not applying with actually pink as a man, but why not? So, it try inspiration by painters out there. They're not afraid of color choices. So that's why, I used to make a plan perfectly. People make and people paint. But lately, I just go for it, you know? Life goes that way. Even though I make a plan perfectly, and I used to sketch first. That's my most – my friend, they're curious about my work. Do you sketch first or make something later? And I used to do it, but lately, I just go for it. Just go straight forward. Sometimes mistake, sometimes I'm not satisfied, but it's okay. That's life. That's more or less my stress.
As a maker, I'm always thinking about perfectionism, and making better, and better and better work, but there's no right way. There is no perfectionism out there, as a maker. So, most important to think about that. Just make, and then think. Make and think. That's what I'm trying to do.
[0:13:49] LHL: Love that.
[0:13:50] SW: That's such a good answer. I feel like sometimes we ask artists these kinds of questions, like, "Why yellow there?" And they're like, "I don't know." Or they're like, "Well, here's where this yellow came from." Suppose you just do what you feel and sometimes you're like, "No, I have a real specific reason."
[0:14:08] LHL: I'm curious about where are the challenges with the actual making, especially because I did sculpture in college, but I actually carved stone. So, it's more of a reductive process than an additive process with clay. So, there'd be times where I'm 15 hours into sculpting something, and then it cracks, and it breaks.
So, I'm curious about the challenges of when mistakes happen, or I guess, what's the time frame of how long your pieces typically take? And then, are there some that never see the light of day because there's a crack if you will?
[0:14:43] YK: Yes. That's why ceramic actually cracks easier, a big part of the processes. Especially when you make the bigger pieces, that what happen. We need a good clay body. Somehow if you make bigger one, you need to find a good clay body. Otherwise, especially if you're working on porcelain, you could make a bigger one. So, that's a little challenging. Even though you can make a bigger one by yourself, but there is another challenge waiting for you, especially when you load in the kiln. That's another challenging, really frustrating.
I had some experience when I was in Korea and I make huge oversize, giant pot that I'm working on. Then, I load in the kiln and I just preheat over two days, three days, night. I feel like I'm sure I can go up. Then, the problem was that, I couldn't understand the structure with kiln. That means, the structure of kiln, actually, the bottom line, cool and the top part actually more warmer and higher. That's the way the gas from the hole in the bottom, and then go through the chimney, and then go away. That's why, to make evenly, you should close the damper, the backside. Then, the top of the high heating, go down, down draft, that means more heating evenly inside the kiln.
But I used to learn just, if you weak preheat, it's going to be okay, everything, but it's not. So, that's why I learned that that skill from the masters that I can handle it now. But first time, really frustrating. Because as you mentioned, I really import – I mean, physically, mentally make bigger ones. Especially when you're carving all day long, if you find some crackiness, you might be crying, but that happen. That's the – life goes –
[0:16:36] SW: I feel that. Sometimes that's just life, I know. I know there'd be a moment where it would just crack in half, and I have two pieces, and I'm like, I can't stick them back together, and I want to. Moving on is really tough. How heavy are some of the larger ones?
[0:16:53] YK: I can't exactly how many pounds on it, but certain thickness to holding it, those structures. So, I used to make more lighter and lighter. That means, holding the water inside some. So, that's why I can handle them. But that's what I really appreciated about mastermanship with the Onggi masters. They know how to handle the thickness and the height. That's the reason to learn that. So otherwise, I might be not interested in it.
[0:17:24] SW: Yeah. Ceramics is one of those mediums that strikes me as like logistically complicated. Like at this point in your career, you might own your own kiln, but like most people don't. Whereas most people are going to have paper and paint, or paper and pens, and those are sort of easy. I can't fathom firing, or like having a kiln large enough for like a really large kind of pot. It's like, what are sort of like the barriers? If somebody wanted to start ceramics or start playing with clay, how do you do that?
[0:17:55] YK: That's a good question, and as a ceramist, all of them actually dream about set up own studio setting. Like, "Oh I want to set a big kiln that I want." That's the dream about myself, but it's not easy to do it. So, not only economically, but also space-wise, it's not easy to do that. Like you mentioned, if I want a painter, you might be having a studio at home, and then you can bring some canvas, and paint, and something, you can start right away. But working with clay, you need a lot of facilities, kiln, and sometimes if you want to throw in the wheel, you need a wheel, and a lot of big table, and a lot of tools. So, that's what's really challenging.
Especially if you're looking for some renting studio, another challenging. So, a lot of studio renting, they're not ready to set up the plug in your own kilns. So, that's another challenging. So otherwise, you might access some community, ceramic community, you can get it, you can take in classes, and you can go some residencies. That's another option.
[0:19:03] LHL: Yes. Let's talk about residencies, because you've had a few. What are those experiences been like?
[0:19:10] YK: As an artist, we need isolation time to make our own work. But at the same time, we need with people. For me, residencies actually not only make a friendship with other makers, and also, another way to influence by learning from them. So otherwise, you might be digging your own way of making. But for me, residencies is bring new perspective, new ideas. Especially if you're willing to collaborate with others, that's what I'm trying to do. When I go to residencies, I'm trying to collaboration with others. That's another way we can learn something new.
[0:19:47] LHL: Have you been collaborating with anybody in New Hampshire?
[0:19:50] YK: Not now. I do with my wife and she also really good at a decoration and has senses of the decoration and color choices better than me. So, that's why I created some vessel form, and then she decorated something, and then that's what we do.
[0:20:09] LHL: I love that.
[0:20:10] SW: I love that.
[0:20:11] LHL: Yes, we have a real soft spot in our heart for couples who collaborate creatively. You know, it's always just a really nice, special thing. I think when you're growing with a person through life, if you can create together, that's just a wonderful way to document a part of your relationship as you grow. It's so cool.
[0:20:31] SW: I know. We both looked at each other and like, "Aw."
[0:20:35] LHL: What did she teach?
[0:20:36] YK: Ceramic and 3D design.
[0:20:38] LHL: Okay. Fantastic.
[0:20:40] SW: That's fun. Is that how you met?
[0:20:42] YK: Yes, that's the way we met in the states. So really, small community, Korean community. Every year, actually, [Korean word inaudible 0:20:50], which means "academy gathering" every year, annually. So, that's when we knew each other. In social media, and then we knew that, and the food guy, and stuff like that. So, we have some contact information.
[0:21:03] SW: That's great. That's the National Council of Education for the Ceramic Arts, right?
[0:21:08] YK: Yes.
[0:21:09] SW: Very cool.
[0:21:10] LHL: Love that.
[0:21:12] SW: Can we talk a little bit about where you've exhibited your work and what that experience has been like?
[0:21:18] YK: When I make a bigger one, I try to contact some galleries. So, they might be interested in my work and then I try to make a plan to do. When I go somewhere and then exactly, for example, when I move into Hampshire, I contact some gallery in the town or Boston area. Then I reach out to email or sometimes if I have to open reception I just stop by and they say, “Hello, my is name blah, blah, blah. If you're willing to show my work and then please contact me,” stuff like that. Sometimes it works, sometimes it doesn’t but that's what I'm trying to do.
Also, lately, I'm trying to apply some craft show. So, that happened last year and where the Smithsonian Craft Show, Washington, DC. That's why I'm trying to make a plan living as a full-time artist. And also, there is some annual craft sale in New Jersey, old church parlor sale like that. And there are a couple a year. So, sometimes hollow sale, I try to sell to the online sale, model sale, and some holiday and Thanksgiving and Christmas sales. I make something, small stuff, for example, bowls and plates and things like that, and they're easy to carry, easy to shipping, and that's why one other way to do. Mostly my big work actually not easy to handle it.
[0:22:40] LHL: That was going to be our next question is logistics of shipping or bringing works to exhibits that must be really tough.
[0:22:47] YK: Yes that's another challenge, but definitely if you want to show your work to the people, you might invest time and energy. Sometimes you might be disappointed, but that's the real challenge, right? So, to make a balance, not only make a bigger one, to show my own perspective, my work and sense of my own voices, but at the same time make a living and make a small stuff kind of utility and parallel as well. That's why I'm trying balancing.
So, one or two solutions, if I have a chance, I think two is sometimes much, but depends on how many pieces do you want to present, but one is solo show is good and then one is one or two, a craft show is good and sometimes, small annual craft show, something like that, it's good to balance for me. Definitely, I need to make a plan sometime, but sometime work out, sometime not. But most important, like I said, make and then spread out, and let's see how it goes. That's what I'm trying to do. Otherwise, too much stress out. If you handle everything, it's not easy. So, that's why lately I'm thinking about more meditation, how can I handle my stress out, that's why I intentionally to go YMCA to release my stress out and also bring my energy. Otherwise, I just take all day long in the studio and as I mentioned that I need to make a plan and make a time, keep producing my work, but I need balance. Otherwise, I feel isolated. Where is my happiness? Where can I be happy? Where can I balance?
So, that's why lately I'm thinking about balancing. But I'm not thinking about that much, and I was young. I just dreamed about setting my goal, aim to hire, hire and work as you work as I can. But nowadays, I need balance. That's the way to keep doing this.
[0:24:41] SW: Absolutely, my family is also an Exeter YMCA family, so maybe I'll see you there.
[0:24:49] YK: Great.
[0:24:48] LHL: That's awesome. Do they have a pool?
[0:24:53] SW: No.
[0:24:53] LHL: Okay.
[0:24:53] SW: But you do have access to all other YMCAs when you have a YMCA member, so you can Portsmouth and use their pool.
[0:25:01] LHL: I've gone to that one before, but it's just a little bit further than I'd like to drive for pool access, but I love swimming, so I wish Exeter –
[0:25:08] SW: I know, this is my advertisement for the YMCA.
[0:25:15] LHL: I think that is such a good point about balance because whether it's external stuff that's happening worldwide or politically or whatever, there's lots of negativity brewing all the time, it seems, or whether it's within your own time and your family and your life and your responsibilities, I think that balance is so key to making sure that you don't feel drained when you are producing.
[0:25:37] YK: Yes, of course.
[0:25:38] LHL: So, I appreciate you sharing that because I feel like that's a reminder I need a lot.
[0:25:44] SW: Yes, well, it's probably doubly important for you when you're doing so much work isolated and alone in a studio. If you're a writer, you pick up your laptop and you go to a coffee shop and at least there's other people around, but you're really like all alone when you're doing your work.
[0:25:58] LHL: What other challenges do you face within your practice that maybe we haven't covered?
[0:26:05] YK: Mostly I'm thinking about stress about make something new. How can make more uniqueness my work? That's the question about especially in creativity as a maker. So, that's why when I chance to reading some books and magazines, even the podcast, some YouTube channel think about storytelling, how can creating your own work, and who is going to be more valuable than others, something like that. So, I think about that a lot. But for me, make my own work because we are only one. So, that's why I still believe, personally, the most creativity are caught by Martin Scorsese, who is the famous director and I believe that. That's why I'm just keeping in mind. If I stress out, “Oh, I'm not better than this. Who going to make this one?”
When I make to go museum, where the specific place to influence and if I need some plug-in more resources and inspiration, I go to museums and galleries. When I look up the unique units and masterwork, and then I feel like, “Oh, how can make this one? I want to make like this.” That's the real inspiration for me. But at the same time, really stress out because so much information out there. We knew everything, but it takes time. I need to go studio, sitting, and touch the clay make something. Otherwise, if you go further to mentally, you might be trouble. So, that's why sometimes I need to balance. You cut the information. I can just focus make you know, otherwise you might be afraid and frightened by certain failures. Who are going to beat you? Who are going to be more better than you?
So, that's the really challenging. That's the thing about that way, that's why I need, like I said, I think about balance. Otherwise, the stress is killing me, so that's why I just keep in mind, “Oh, you are good. If you make it, it's good.” Sometimes, if you not make it, you are enough, like that. Otherwise, who’s going to be? Because I dream by waiting for that moment, everybody came to my opening reception, “Oh, Yeonsoo, you make such a good work,” and then, “Wow,” something like that. But if you experience like that, you might be got some lessons. “Oh, it's going to never ending.” That's why if you're going to keep doing this, you might find more different motivation or you might be different meaning of that. Why do you creating art? Why do you making art? What's the meaning for you?
That's the big journey, and I like the expression, “What is that?” I read some book that said, “That's the journey to find who you are.” That's what I like. So, never ending. That's the challenging, but that's the reason to keep making art. That's my answer, yes. I'm still figuring out, yes.
[0:29:03] LHL: This is kind of the counter question, which you sort of answered, but I'm curious, how do you define success as an artist?
[0:29:11] YK: Such a good question. I'm thinking a lot. “Oh, I know this guy. Oh, this is my hero out there. I want to be like them.” If I get a fan, if I sell my lot of work to do, if I exhibit certain famous museum or gallery, I might be succeed, but it's not. I need all my definition of succeed. Otherwise, never ending, like I said. So, that's why Without grateful, without thankful, I might be succeed. That's my answer. That's why I know that right now. But as a human being, as an artist, I need also – I want to motivation and do something else and better and better, but at the same time, that's why I'm trying to switch on, switch off, back and forth. Otherwise, that pressure killing me. Otherwise, there's no meaning to keep doing this. That’s why I’m trying to do. That’s why I intentionally to go beaches, to go outside the studio and meeting new people, and then they might bring different perspective. If you are with same artist and many community like that, there’s some tension between us. “Who are going to be selling? Who are going to be good at it? Who are going to be more promoting the shows?” Like that.
So, that's why when I go to churches, they just appreciate about what I'm doing it. All your artists, you make this, wow, something like that. But we think about, “Oh, how much valuable, how much better, something like that.” As a full-time artist, we might be not easy to handle that. That's why lately I'm thinking about what's going to be next? I dream by building my own career, I feel really grateful. I feel like really passing by and through that. But lately, I'm thinking about different motivation, like teaching and sharing my experience and ideas to the people. So, I don't like keep teaching every day. They took my all of energy, especially young kids, right? I had some couple of experience, but I can handle that, “Oh, where's my energy gone?”
I appreciate it, but at the same time, I'm really interested in a small group, kind of workshop setting, like that. They have ready to listen to what I'm saying, so that's why this summer I'm going to teach in [? Prep School inaudible 0:31:28], I'm teaching Onggi. I really appreciate it because Korean culture is not popular a couple of years ago, but lately I'm really – K-pop, K-culture, really fascinating about Korean culture, I'm really appreciative about Korean artists, especially ceramics. So, that's why I'm really excited to share my experience to the people.
[0:31:51] LHL: Absolutely. That's so wonderful.
[0:31:52] SW: That’s beautiful.
[0:31:53] LHL: New Hampshire is very lucky to have you here.
[0:31:56] SW: Yes, we are.
[0:31:58] LHL: I think it's time for rapid fire questions. So, what other artist has influenced you the most?
[0:32:05] YK: For me, Dali. Dali is my biggest inspiration. When I was in St. P in Florida, there was a Dali museum. I've been there a couple of times and then I loved his creatives and different perspectives, how can creating a different way of the art. So, Magritte also inspiration. And sorry, you asked about biggest inspiration, but African masks is the biggest inspiration for me, something like that, spiritual kind of. I love the sub-religion.
[0:32:38] LHL: Oh, that's great.
[0:32:40] SW: What's your favorite place that you've exhibited your work?
[0:32:45] YK: Asian space — there's a group exhibition in Korean gathering and Philadelphia Glass Studio, around 20 ceramists, Korean ceramists in the state. So, I feel like really appreciate about being among this kind of group, because I dream by in the state, and I, when I was a kid, "Oh, I want to go in the state. I want to have some show in the state.” It feels like, make that happen. Even the emerging artists through the National Conference in the ceramic art, I'm an emerging artist among the six of them and they're really meaning up my career.
So, I really appreciate about that happen. So yes, that's the experience that I happen.
[0:33:32] SW: That's great.
[0:33:35] LHL: What is your favorite color?
[0:33:37] YK: Blue. Yes. Blue is represent my hometown. Blue is the ocean. Blue is the play with the fishes, and I don't know, I love the blues, yes.
[0:33:48] LHL: Yes.
[0:33:51] SW: What's your favorite scent to smell?
[0:33:54] YK: Smell? Lately, I have own favorite perfumes, but some shampoo kind of in a conditioner, especially certain smells, remind me of my family. That's the signs missing my home, but the raspberry. Raspberry is one of my favorite one too.
[0:34:14] LHL: Oh, nice. What's your favorite sound?
[0:34:17] YK: Let me see. I love the hearing about water sound, waterfall and some tripping water sound. But as a music, I love the OST of The Mission. Gabriel Oboe is one of my biggest inspiration. If it's like bringing my comfort, if it's like hometown, if it's like hugging with my mom, that's why I love this sound. If I feel tired, I turn on this music and then just breathing in and out and if it's like, “Oh, it's okay, if it's home.” That's the release my stress and wrap of my day. That's my favorite sound, I believe.
[0:35:06] LHL: That's very charming.
[0:35:08] SW: That's fantastic.
[0:35:07] SW: What's your favorite texture to touch?
[0:35:10] YK: Of course, clay.
[0:35:11] SW: I knew you were going to say that.
[0:35:14] YK: Clay is still pumping my energy, still challenging. That's why I love it. Never boring. So, I'm excited to what's going to happen and looking forward to what I creating next to my chapters, that's why I still make it and yes, touching clay. Also, I'm trying to touch the clay every day, no matter what. No matter what makes small one, no matter what, bigger one. I just think about this is good ceramic work, this is more valuable. But lately I'm thinking about you like that, no matter what. If you make something, if you're touching, it's really meaningful. That's what I'm trying to do and keep in mind.
[0:35:55] LHL: What is the most inspiring location you've traveled to?
[0:35:57] YK: New Hampshire or all over the world?
[0:35:59] LHL: All over the world. Wherever you've found the most inspiration.
[0:36:03] YK: Good question. I mean, in the state, more giant than expected. So, I still remember first time in the state and I was in the North Carolina to study in the state and during the summer language English program, that's happened actually in 2020, a long time ago. I still remember that day. First time passing by immigrant office and everything really shocking to me and I don't know what they're saying. But yes, that happened to me and that's the reason. I'm curious what's going to happen in the state. I'm curious about contemporary art in the state.
[0:36:46] SW: That's great. What's the last new thing you've learned?
[0:36:50] YK: Relationships, new location, meeting new people. That's what I learned a lot. I mean, in terms of art practice, definitely, I took a workshop at the watershed, ceramics, and just print out images and then you can use the color print. If you have some images and then you can attach it and that's another way to decorate it in terms of surface decoration. That's why I learned that. I love it. And also, I love the interesting about rusting kind of gold and silver rusting after second firing. I'll be toxic but it's a good way to learn something new. I get used to some decoration before dry and after bisque and then glazing and then firing again. And this is a way to learn something more creating depth, like painting. If you finish first layer, second layer, you can do third layer, fourth layer, like that.
So, to make something more interesting and creativity, I try to create more storytelling and more layered. That's how I learned from paintings, so, yes.
[0:37:58] LHL: Of that, this is our last clincher question. If you could travel back in time, what advice would you give your younger self?
[0:38:05] YK: It's okay, Yeonsoo. Everything’s going to be okay. Don't be too much stressed out. Don't be worried too much about your future. Be yourself, be on time, just smile often, be happy. It's going to be okay. That's what I want to say it to my young – yes.
[0:38:23] LHL: Oh, Yeonsoo, it's been so nice talking to you. It's really been a pleasure.
[0:38:26] YK: Oh, thank you so much. Thank you for having me, yeah.
[0:38:30] LHL: Yes, this has been great.
[0:38:30] SW: It was really wonderful, thank you.
[0:38:32] LHL: So, thank you again, Yeonsoo. With that,
[0:38:34] Everyone: Show us your Creative Guts.
[END OF INTERVIEW]
[0:38:42] SW: Another huge thank you to Yeonsoo for joining us on Creative Guts.
[0:38:47] LHL: What a fantastic interview.
[0:38:48] SW: It was so brilliant. His work is so stunningly beautiful and sophisticated, and professional, and he is so humble.
[0:38:59] LHL: Yes, I definitely agree. He is just very simply laying all this out. In my head, I'm thinking, “You're a big deal. This is really amazing.” Body of work and direction of work and just the relation between identity and where he is on the globe at the time and nature. Nature was definitely a thread that he tied back to often, even when he was in rapid-fire talking about his favorite color. I loved that.
[0:39:30] SW: Yes, absolutely. You're right. The connection back to culture and all the places he's lived in like his desire to have community. It was all just so perfect, so brilliant.
[0:39:41] LHL: I think, Yeonsoo’s approach to trying to find balance in life and to feel reinvigorated after that balance, which also ties into nature and connecting with others around him. Really quite beautiful. I think it is such a strong, important thing that a lot of us should remember. I am internally looking at myself right now, when he was speaking, I really felt very necessary to hear it. So, I'm not sure, I can't remember if we mentioned it or not, but I was looking at just New Hampshire artist, like NH artist hashtag on Instagram, just to see if there was others out there I hadn't discovered yet. This gentleman was in Exeter, Yeonsoo was a couple of miles away from where we record and I hadn't had the pleasure of encountering his work prior.
So, for all its faults and downfalls, social media does still bring us together in very
curious and interesting ways. And I am so thankful that I got to meet Yeonsoo and discuss his work. I just feel like very honored to be able to talk to him.
[0:40:46] SW: Yes, that was perfectly said.
[0:40:46] LHL: So, thank you again, Yeonsoo. It was just such a delight and I hope that we get to bump into you and interact with you again in the future.
[0:40:54] SW: Seriously, I hope I ran into him at the live.
[0:40:57] LHL: I know. I hope you do too. I hope he comes to some art event or something. I think that'd be so cool. You can find Yeonsoo’s work at yeonsooceramics.com and on Instagram at @yeonsoocermiacs. As always, you can find those links and more in the episode description and on our website, creativegutspodcast .com. You will find us on Facebook, Instagram, and LinkedIn at @creativegutspodcast. And please hop on over to our Discord server and join that. It is a vibrant growing community of creatives that are connecting and inspiring each other.
[0:41:30] SW: This episode is sponsored in part by the Rochester Museum of Fine Arts. Thank you to our friends in Rochester for their support of the show.
[0:41:36] LHL: A big, big thank you to Art Up Front Street for providing a space where Creative Guts can record in Exeter, New Hampshire.
[0:41:42] SW: If you love listening and want to support Creative Guts, you can make a donation, leave us a review, interact with our content on social media, purchase some merch, whatever you're able to do, we appreciate you.
[0:41:52] LHL: Thank you for tuning in. We'll be back next Wednesday with another episode of Creative Guts.
[END]