In ceramic art there is the beauty of everyday life, while in ceramic history there is the wisdom of a culture. From the Fire assembles 54 contemporary Korean ceramic artists whose work reflects the challenges of combining rich and distinct ceramic roots with new influences and reinterpreted methods. The 108 artworks in this exhibition reveal that the wisdom of Korea’s ceramic tradition continues, 5,000 years after it began.
Korea’s ceramic heritage has established an imperative: In Korea, if one makes ceramics, one must do it well. This is the weight of Korea’s distinct tradition and it has often burdened artists. It has, for example, taken some artists long periods to digest new trends, posing an obstacle to the development of contemporary ceramics. In contrast, the advantages of having a strong tradition are the many references and sources of information that are still incorporated and brought to light by practicing artists.
Tradition is the undercurrent that shapes most of the issues and dialog in contemporary Korean ceramics. “What can the ceramics of the past teach us today, and how are we continuing with the ceramic skills passed down from our ancestors? How has function changed in ceramics in a time when our lives have become deeply influenced by Western concepts?” From the Fire looks at these issues through this synthesis of contemporary Korean ceramics.
The curator of From the Fire is Ms. Chung-Hyun Cho, ceramic artist and professor in the Department of Ceramics at the College of Art and Design of Ewha Womans University in Seoul, Korea. She has selected ceramic artists ranging in age from 30 to 80. This age range provides diversity and a distinct sense of contemporary Korean ceramic history. The exhibition is organized into three groups: Tradition Transformed , Ceramic Sculpture, and Individual Direction. The categories show a progression that conveys the development of contemporary ceramics in Korea.
The national tour of From the Fire: Contemporary Korean Ceramics has been organized by International Arts & Artists, Washington, DC, and made possible by the generous support of the The Korea Foundation, the E. Rhodes and Leona B. Carpenter Foundation, Mr. Nam-Kil Yang, and the Korean Culture & Arts Foundation.
