All the work are wheel-thown and hand-carved porcelain with celadon glazes fired in gas reduction atmosphere up to 2350F.
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Design and function of the work are influenced by my heritage. Porcelain and translucent glazes, such as celadon, historically sustain the value and also suggest the fascination toward elegance and beauty. In the forms of function, I always reference what I saw on the table as I grow up, the seasonal dishes served, and even the relationships with viewer/user. Through the search of my personal identity in the process of making objects, I project myself in the surface designs and patterns extending my inspirations from traditional wood-cut prints and textiles to wrapping papers, advertisement and even tattoos. I am interested in the eclectic inclusions of east/west and organic elements onto utilitarian objects by capturing the seasonal nature beings through carved surface decoration, and also showing the appreciation of production practice with thoughtful designs and keen craftsmanship. In Japan, especially among the high-class society in the old time, it is a luxury to alternate dinnerware according to the season, and it is my humble desire to share the beauty of this culture hoping that my work can represent a season or even one special occasion of life.

A series of work produced during the 10-week residency at Tainan National University for the Arts in Taiwan ROC in fall 2010. The works were displayed at TNNUA with the title, "Made in Taiwan by Japanese from U.S.A." at the end of the residency as well as "East Meets West Meets East" at Baltimore Clayworks Gallery in March, 2011.
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Great conversations are started while serving and sharing various beverages; from morning coffee and afternoon tea to beer, wine, or bourbon in the evening. Inspired by reconnections with my old friends in Japan and the new friendship that I made with the people in Taiwan over serving and sharing various beverages, I spent my residency creating drinking vessels. I focused on surface embelishment and used traditional Japanese and Taiwanese design patterns of textiles and papers that I collected during the trip. As if wrapping a gift or wearing clothing, the ornamentation and celebration of the containment is meaningful for me. A viewer of my work becomes an active user through holding the vessel, feeling its surface, and nourishing their body with its contents. The time that I spend carving and finishing each piece bridges the time that the user spends developing the connections with others.

A collection of serving platters from 2008-2009 Lormina Salter Fellowship Solo Exhibition, "message: to whom I want," in June of 2009 at Baltimore Clayworks Gallery.

This show was a reflection on the "seductive elegance" show of prior year. I merged from the expression through the quality of forms to more direct communication using symbols through the composition on the surface. I created the images that imply "messages" of my inner emotion as well as current political and religious issues communicating with the selective audience.

Artist statement from the M.F.A. thesis exhibition titled "seductive elegance" in May, 2008.
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The word "elegance" describes refinement, grace, and beauty in movement, appearance, or manners, and also tasteful opulence in form or presentation. The beauty of the objects can be shared with the viewer through not only the formal quality but also through the cultural and social influences of the maker.

Searching for my identity and the expression of personal aesthetic has been my interest. The tactile nature of clay stimulates my creativity, and the focus on the continuous challenge of technical acquisition using potter's wheel emphasizes the importance of my practice of the object making process. Porcelain and translucent glazes, such as celadon, historically sustain the value, and also suggest sensual and seductive fascination toward beauty. By understanding the historical status of Craft, I see that keen craftsmanship has timeless value, and the demand for perfection is my life-long goal as a maker of objects.

I find a connection with the way the buds, sprouts, and roots of plant life unfold and transform themselves from their core with a release of energy, and they flourish and grow. I am also intrigued by how human bodies move and interact physically and emotionally creating sensual lines and forms. As growing up in rather suppressed cultural and social background, I was brought up to believe that personal emotions and sensitivity should not be expressed, and the uniqueness and individuality was discouraged in order to be a part of or even lost in "them;" a constructed group of society. Through my creative activities in this different cultural environment, I started to accept myself as I am and further explore my identity referencing the inspirations as if I am making the transformation as well as finding connections with individuals, society, and nature while suggesting the beauty, sensuality, and preciousness in life.

Through this series of work, I am able to convey more eclectic ideas of visual communication; the interests in the technical aspect of making, the tradition of pottery making as well as the focus on the formal qualities of lines and shapes. Shared understandings of aesthetic fundamentals and the concrete idea of elegance can bridge the cultural and social differences beyond the personal tastes. The sole presentation of the objects and space reveals what there is to know about myself and communicate with the viewer. The fluidity and weightlessness of the forms portray the essence of my inner emotion finding a relationship with the one who I want.

It is my journey to continue to have a conversation with myself.

"hub" series shows my fascination with formal quality of objects and the contrasts between positive/negative, symmetry/asymmetry and movement/stillness. Within elegance and craftsmanship that I always value in my aesthetics, it is my journey to explore the validity of making "High Craft" in terms of Contemporary Art.

They are wheel-thrown and hand-carved porcelain, varnished, and assembled. 7" to 15" in diameter.

I am always curious of other media or artists and how my work evolves with their influences.

This is a series of collaborative works with Jim Dugan (2011 b-grant winner,) former resident artists at Baltimore Clayworks, during my solo exhibition in June of 2009. Jim threw large porcelain vases on a potter's wheel, and I carved on the surface. The pots were fired in a double-chamber noborigama at Baltimore Clayworks under the direction of Jim. In the same concept, Tim Sherman, former resident artist of Baltimore Clayworks, threw a vase, and I carved on the surface. The vase was fired in a wood-kiln at the Chris Cooley Studio, and the pieces was displayed in Tim's solo exhibition in June of 2011.

Also, a series of collaborative works with Yasuyo Sakamaki, a master of ikenobo/flower arrangement, during the exhibition at Baltimore Clayworks in June of 2009 are shown. The same vessels create totally different ambiances in the same room according to the presence of various flowers. Ms. Sakamaki's selection of flowers and the composition are simply amazing.

Articles published in 2015.