Photo courtesy Sunyong Chung

Enamored with her work, we conducted an interview with her last fall, but, er, neglected to publish it. (Journalism, shmurnalism.)

Now, however, bear witness to all she reveals about the intricate nerikome technique used to ornament her plates and bowls. Also: some call/response regarding Sunyong's beliefs about continuity of form, and her experiences connecting with artists from other eras! Testify!

Your focus is on what you call "functional art," and you say there's a connection between the maker and the user. What defines the connection?

[There is] the physical connection between myself and the user. From my end, the whole experience of making a piece is the connection. The users get the result of the whole of my experience in a neat package of a finished piece.

When I was in Guatemala last August, I saw a ceramic monkey in an archaeological museum in Antigua. It was a small monkey on a top of a ceramic box. There was no name of this artist of the time past but we were connected by this piece of art.

Since ceramics has a history spanning thousands of years, how do you feel contemporary potters are able to set themselves apart? In other words: what elements define a "modern" ceramics piece, if any?

In many countries, traditional pottery is taught according to the traditional technique or aesthetic. These living potters who practice the traditional art create their own expressions also. If your question [suggests great] aesthetic differences between the traditional pieces and contemporary pieces, look again. The old is never old and the new is never new.

Who are your favorite contemporary ceramicists? Or other artists who inspire you?

My favorite ceramicists are all my clay friends. I'm inspired by Noguchi, Serra, Delacroix, Wyeth, Hopper, Rodin, Gaudi, Hokusai, Rivera. I love Japanese anime... I could go on all night!

I know you've mentioned your mother as an influence. Was she an artist, too?

My mother is an embroidery artist. Her work bridges traditional Korean embroidery to the contemporary.

Photo courtesy Sunyong Chung

Yes, I came with my family when I was 16.

Is there a tradition of Korean pottery that you draw from, too?

Directly and consciously? No. The influence of Korean pottery in my work is more subtle.

Your own process is based on the traditional Japanese nerikome technique. Can you describe it?

It's a layering of different colored clays which are then sliced cross section.

Why has this technique proven such a good fit for you?

Using this technique with colored porcelain, I am able to get the color, detail, and the multiplicity. Also I the idea of slicing something to reveal its inside. In my process... the images begin in two dimensional drawing, transforms to three dimension (the nerikome log), then the log is sliced cross section to exit in two dimensions on a three dimensional object (dishes).

[Related: "ART; Color and Clay: Potters Borrow a Japanese Way of Working" - NY Times]

What kind of pieces do you generally make? And how long, on average, does it take you to create a piece?

I generally make dinnerware. The amount of time it takes to make a piece is difficult to calculate. All I know is that it took twenty two years to know what I know now about colored porcelain.

Do you have favorite pieces of your own?

I don't keep any favorite pieces. The pieces that i keep are for references, not necessarily a favorite. People often ask me that question about what is my favorite but it's like asking a parent which is your favorite child—I like some pieces because [they] turned out perfect and I learn a lot from pieces that did not turn out [right].

When did you first start doing pottery? Was your work very different back then?

I started to make functional work when i graduated from UT in 1984. Up until then I made clay sculptures.

What advice would you give to aspiring potters?

Make a lot of pots.