Philosophy of Creative Research: Accumulation of Matter and Autonomous Forms
Bodily Processes and Dialogue with the Material
The core of my practice lies in a formative process in which thin clay “lamellae” are meticulously layered onto a hand-built base structure. This methodology has evolved through an in-depth exploration of the incidental and delicate expressions revealed when clay, a highly plastic medium, comes into contact with the palms or tools. The act of pressing and transforming clay into thin fragments with the fingertips is more than mere technique; it is a “sculptural act” that fixes fragments of internal, non-verbalized consciousness into physical mass and time.
Material Indeterminacy and Formative Inevitability
Despite its flexible plasticity, clay remains an indeterminate material that undergoes inevitable shrinkage and transformation during the drying and firing processes. Rather than treating these inherent properties as elements to be controlled, I perceive them as active “catalysts” that drive the formative process to its next stage. Each layer of the lamellae retains bodily traces while simultaneously exposing the physical limits of the clay itself. It is at this intersection of subjective will and material contingency that I believe a sense of truth as three-dimensional expression resides.
From Primitive Mass to Autonomous Life-forms
In my early research, I was immersed in the act of layering lamellae onto simple spherical forms as if to vent my inner self. In recent years, however, my interest has shifted toward the “dynamism” and “autonomy” that forms possess in relation to space. The undulations created by the layers of lamellae eventually evolved into organic forms reminiscent of constrictions or limbs, beginning to drive the very structure of the base form. Currently, I position my works not merely as a collection of emotions, but as “autonomous life-forms” that are differentiated from within me through the creative process and intervene in space with their own vitality.
Silence and Dialogue as Sculptural Language
I organize and reconstruct phenomena that are difficult to translate into words instantaneously over time through the medium of clay. This multilayered process in production is an indispensable research curriculum for re-examining the relationship between the self and the world and weaving a new formative language out of silence. Building upon the material and historical context of clay, I aim to continue pursuing the possibilities of three-dimensional expression that touches upon the fundamental senses of humans within the horizon of contemporary sculpture.