IN-CHIN LEE

Tenacity for Power in Eternity and the Infinite

by Yoo Jae-gil (Hong IK University Professor of Art Criticism)

Inchin Lee s ceramic art can be seen to hold within it tenacity for power in eternity and the infinite. The swelling forms of his jars and the rich colors of their surfaces particularly expose this unending depth. The curved forms of asymmetrical jars have an eternal nature. Their perpetuity cannot be severed, and their beginning and end cannot be known. The dark brown colors of the surface arising from the touch of fire in the wood kiln speak of infinity with the accumulation over time containing a homing instinct to the remote past.

In Lee’s work, spontaneous colors are formed intentionally by natural factors. The wood fired pottery appears dark brown usually, but when it meets the natural light it reveals more of its true colors. The color of the surface appears to shine by itself. As the area touched by fire and the backside are contrasted, the color of the surface shifts and possesses a mysterious quality. Colors that depart from a clear confrontation between black and white hold a human scent and fragrance which natural colors have, embodying primitive power and properties of life.

The surface of the work, above all, contains primitivism and traces of time, as the colors of nature and delicate tones become free from the role of being a servant to the form. Instead, the color of the surface influences the form and makes people think about the emotional expression that strives to coexist with the form. The surfaces of the pots, which shine at dawn or in the middle of night, make a layer of time adding conceptual density. Like the light of day, night, dawn, and evening, the colors of the pots, beautifully fired, develop into a background that support the form. It is this color tone which is armed with the power of eternity and the infinite.

Beyond the exceptional surfaces, it is remarkable that Lee s line drawings and forms escape traditional standardization. Not only the mouths of the pots, but also the swollen middles, feature unstandardized shapes. The jars also reflect deviation from organic shape and break away from norms of geometric form, maintaining round curved sides while displaying a surface of straight angles and lines.

In addition, lines drawn on the surfaces of the manipulated pots show free movements, reminiscent of the unintentional behaviors of wind or waves. Unlike regular patterns of repetition and asymmetry, the lines, as highly personal traces, are close to styles of abstract expressionism. With a tenacity toward infinity and removal from standardized rules and norms, these personal traces can be considered as results of unintentional action, and it seems that they are recording traces of life following the flow of time.

Lee s ceramic art finds glory in the colors of the surface, which strive to embrace the power of eternity and infinity on his rounded forms. His work, which is a formative experiment of traditional technique and individual pursuit, emphasizes free line drawing, shape, and color, free from any restriction of educational experience.

ARTIST STATEMENT

Through the great journey called life, I wish to be bold kneading soil. I crave to feel comfort in it.

I want to accept every moment of life that requires me to touch soil in the most positive way. Creating a figure involves a great deal of time and preparation process, and I wish to embrace the toil and sweat naturally. I want to believe that I am the only one who can truly feel and love all of these elements. And, I yearn to dream in this never-ending work of life.

IN-CHIN LEE

EDUCATION


Orange Coast College, U.S.A.

Laguna Beach Art School, U.S.A.

Califonia State Univ. of fullerton, U.S.A.

BAF, college of Fine Arts, Hong-ik Univ., Seoul

MFA, Graduate School of Fine Arts Hong-ik Univ., Seoul



ADDITIONAL EDUCATION

1991. 8 - present Hong-ik Univ.. Ceramic & Glass Dept. professor

1990. 3 - 1991. 6 Hong-ik Univ. part time lecturer

1988. 3 - 91. 3 Hong-ik Univ. Ceramic Research Institute, Researcher

1986. 3 - 87.12 Fujiwara Yu Porttery, Bizen, Okayama, Assistant To Fujiwara YU

1981. 2 - 81.11 Hang Young Celedom Ceramic Studio



SOLO EXHIBITION

2010 Lee Inchin Ceramic Exhibition, (Gallery Moa, Heyiri, Paju, Korea)



2010 Lee Inchin Ceramic Exhibition, (Sikgijang gallery, seoul, Korea)

2010 Lee Inchin Ceramic Exhibition, (Jajaknamu gallery, seoul, Korea)

2009 Craft Trend Fair, (COEX-booth, Seoul, Korea)

2009 Philadelphia Craft Show-booth (Philadelphia, America)

2009 B&W natural elements, Koo New York, U.S.A

2009 Lee Inchin Ceramic Exhibition, University of Hawaii at mănoa , U.S.A

2007 Lee Inchin Tea Ware, Gana art center, Seoul

2007 Lee Inchin Ceramic Exhibition, Chala Galler, Jeju

2006 Lee