INTERVIEW WITH MAISON MARIE CLAIRE @MASIONKOREA

OCTOBER, 2024

Could you briefly introduce yourself?

Born in Seoul, S.Korea, I am a New York-based artist who explores cultural identity, spirituality and materiality through ceramics and paintings. The works draw from nature, Korean traditional arts, architecture, Dansaekwha, Buddhism and Hinduism.

How would you define your style in a few keywords?

Timeless, Contemplative, Intimate, Vulnerable, Grounding + Ephemeral

What inspired you to start working with pottery?

I have always been a tactile person so the distinct materiality of ceramics what I was drawn to. The soft and malleable qualities of clay that lends itself to spontaneity paired with surprise components like glazing and firing results are exciting aspects of ceramics. There’s always something new that emerges beyond my intentions — I like working outside the realm of predictability.

I also have deep appreciation and fascination for the history of ceramics. It is found in many ancient cultures across the globe so one can learn a lot about various countries’ aesthetics and beliefs through it.  Pottery is rooted both in the everyday use and the spiritual as it was created for ritualistic and symbolic objects. All of these reflect each culture’s unique expressions of the seen/material world and the unseen/immaterial world.

Why did you focus on traditional Korean ceramics, from ancient pottery to the moon jar?

It was a way of reconnecting with my heritage. I left Korea when I was 12 for Canada and the U.S. so there was a deep longing and thirst to learn more about Korea. So, the history of pottery and Korean traditional arts became my lens into re-discovering and re-claiming my moterhland.

It’s really fascinating to learn about Korean history through the evolution of ceramics. Their belief systems, aesthetics and what was possible technically are very much embedded in each types/styles. It reveals how our ancestors lived. It began with the low-fired earthenware of cups, stands, jars and animal shaped forms and bells were found in burial sites. As Korea adopted advance firing techniques from China, pottery became more refined through high-fired celadons and porcelains jars, tea wares, and tiles. Forms and motifs also reflected the religions and belief systems that were dominant in each era. Moonjar which was developed during Joseon period (1392–1897) is iconic and symbolic in the wide spectrum of ceramics because it was finally free from direct influences from China and Japan. It was devoid of decorations, exaggerated forms, and forced symmetry.  It was seen as the most independent form that represented Koreans’ spirit of that time which sought out for purity, ideal and harmony with nature.

Buddhist philosophies of embracing imperfection and emptiness are also reflected in traditional moonjars. They feel universal, timeless and ever-changing because I don't sense the ego of the potter. As a Buddhist, I perceive the repetitive motion involved in creating moonjars similar to bowing or chanting. The stillness and steadiness in following the hand and focusing in the moment become a meditative practice. Also, I have to embrace letting go and not become attached to the outcome as the process of firing take on their own form. All of these aspects are humbling and nourishing teachings that get interwoven with how I approach my life and practice.  

What aspects do you emphasize in your design process?

Fluidity and multiplicity define my practice.  I like creating various series whether that is in ceramics or paintings because the messages that I want to share want to be expressed  through different forms and medium.  As I change internally, my external work changes through me.

I ultimately want to create a naturalistic garden like atmosphere with my works where ceramics, paintings and other mediums like scent will come together. And the site, where the works will displayed will play to critical role on how these environments and ensembles are formed.

Each series are like seeds in a garden, they are unique on their own right yet they will grow and blossom next to each other in harmony to create a unique environment.  Like a gardener who waits patiently and works with the changing of the season, I am developing the various seeds and plants and when opportunities arise for shows and collaborations, time-specific garden will emerge.

You also work on paintings. What are the distinctive features that differentiate them from your pottery?

The ceramics especially the Moonjars are about offering a point of focus for looking in and feeling grounded. The spherical form and the soft earthy tone of the work tend to calm and slow down the viewers so that they become more attuned to their senses.  The paintings evoke  subtle movements, lightness and expansiveness so that they become active gateway into meditative states. I want people to tune into and feel the powerful inner voices and intuitions.   I find it critical to cultivate the complementary qualities in life through art— one that is constant where our body is firmly connected to the earth/ground and the other is free of space, time and preconception therefore always open, changing and moving.

Do you have any memorable customers or collectors?

I love all my customers and collectors. I think most of them have personal attraction to my work.  I met a collector who told me that he put my painting “Duality Gate” in his bedroom to reminded him of his daily meditation practice. Another collector found solace in my moon jar with a kinstugi/crack repair because at the time of his encounter with my vessel, he was going through mending his own broken heart. Often, many people have told me that they feel calm, healed and contemplative around my work or when they visit my studio.  I’m really grateful to be able to offer such feelings to people. Such intimacy and delicate nature of art is what I believe in and want to continue to offer and expand upon.

Are there any artists who have influenced your work or whom you personally admire (aside from your own work)?

I admire many artists from all disciplines and eras so my inspirations and influences are always evolving. If I have to just select a few:  I have deep appreciation for the Korean Dansaekwa masters. Their sensitive approach to materiality and creating as a meditative practice is very much aligned with how I develop my works. Koo Bohnchang’s s photogrpahy changed how I perceive artifacts especially Korean traditional pottery. The objects became both ancient and contemporary through his lens.  I also love learning new things from landscape designers like Piet Oudolf and Dan Pearson. Their understanding of the natural world and vision to design atmospheric gardens/spaces is very inspiring.

Can you introduce any recent exhibitions or works you are currently preparing?

I am currently working on a set of Hanji paintings for a group show at Francis Gallery in Los Angeles. I am excited to be presenting a new series called “Inner Knowing” and “Inner Garden.”  They are continuation of the themes that I’ve exploring previously like Buddhism, Hinduism/yoga, and Korean heritage but it will have a new visual language — I’m excited present them in November 2024.

Also, I have been recently approached by a woman-owned New York based fashion label to collaborate and create some ceramics for their SS/25 collection. Because of my interdisciplinary art + design background, I love learning from other disciplines and be challenged to create something unique together.

What kind of work do you want to challenge yourself with in the future?

It is my dream to create a meditation center and studio space in nature — surrounded by forest and near ocean with edible and floral garden. I want to be to offer a place for people to tune into their senses, body and mind to cleanse, reenergize, dream and cultivate compassion to oneself and others. I envision workshops that bring in people from diverse backgrounds and disciplines to exchange ideas and creativity.