10 Questions with Huey Lee

Huey Lee is a ceramic artist from South Korea, dedicated to exploring the expressive possibilities of clay. After completing his training as a traditional Korean ceramic artisan, Lee honed his skills working in various pottery and ceramic studios. He had the privilege of studying under renowned ceramic artists such as TaeGon Kim, Inchin Lee, and the late Gil-bae Kim, who imparted their knowledge of technique, form, and aesthetics. Lee holds a BFA from Kyung Hee University in Korea and an MFA from the University of Georgia.

hueyleearts.com | @potter._lee

ARTIST STATEMENT

Huey Lee's artistic practice is deeply rooted in his cultural background, religious influences, and nostalgic memories. He expresses these themes through drawings and sculptures, each carrying its own narrative. These narratives are conveyed through unique characters that serve as vessels for personal introspection and societal commentary, often encapsulating hidden desires and concealed emotions. Lee's work frequently incorporates whimsical humor, nostalgic figures, and objects that evoke sentimental responses in viewers.

Central to Lee's artistic process is a continuous exploration of self. His constant self-inquiry regarding identity allows him to delve into diverse narratives through these characters, representing the spectrum of his emotional landscape influenced by both internal and external factors such as trauma, anxiety, longing, and desire.

Lee's drawings and sculptures function as a visual diary, reflecting the range of emotions he experiences daily. He often incorporates found objects into his work to introduce new visual languages and underscore the original narratives. These found objects fuel his imagination, resulting in a fusion of elements that create visual complexity.

The characters Lee imagines—such as a dog, tiger, demon, angel, and a super-humanized version of himself—are translated into clay works, embodying both figures and illustrations. These clay figures and illustrations bring forth a humorous and whimsical narrative by seamlessly blending cultural contexts, including pop and Korean culture. For example, a dog disguised as a tiger, pretending to be something it's not, reflects aspects of Lee himself—moments when he may not feel strong but pushes himself to appear mighty.

Clay, a timeless medium, offers Lee a profound means of expression. Objects crafted from clay throughout history signify the cultures from which they originate and reflect the zeitgeist. For Lee, clay's unique ability to capture the maker's touch becomes a medium through which he shares his emotions, memories, and languages, aiming to communicate with the world.

INTERVIEW

Let's start with yourself and your background. How did your training in traditional Korean ceramics influence your current artistic practice?

It's a long story, but to begin, I first attended the Korea Ceramic Arts School. Before that, I hadn't recognized any particular artistic talent in myself. Looking back, it's clear that as a child, I wasn't fascinated by academic subjects, but I was drawn to art. Still, I never thought I would end up studying in any artistic field. Like many high school students in Korea, I attended a typical academic school, but I struggled to enjoy its structure. To make things more difficult, that year, I was diagnosed with Ulcerative Colitis.
During this challenging time, I had an unexpected encounter that changed everything. One day, while passing by an electronics shop, I saw a television in the display window playing a documentary about the life of a Korean potter. I was captivated and couldn't walk away—I stood there, watching the rest of the show through the window. It was then that I realized what I truly wanted to pursue. I found a nearby pottery studio and started taking lessons every day after school. I immediately fell in love with clay.
However, as my passion for ceramics grew, so did my illness. I eventually took a year-long leave of absence from school. Fortunately, my parents and I discovered a school specializing in ceramics outside the city. I managed to get into the school as a freshman after their practical exam and interview. I have so many beautiful memories from that school—it would take forever to tell them all.
At the school, I was deeply inspired by traditional Korean pottery, such as celadon, porcelain, teabowls, and Buncheong ware. It was a great time for me to cultivate my skills. I spent weekends climbing local hills and mountains to dig wild clay for my projects or visiting masters' studios to seek advice. My dream was to become one of them. However, under the guidance of contemporary sculptors and ceramicists in my senior year, I also began to embrace the contemporary ceramics movement. I was so stubborn to take up their lessons at first, but was enlightened by the fact that clay has many possibilities.  
The way I throw, shape, and sculpt has been undeniably influenced by traditional Korean ceramic art, as well as the masters' mentality toward clay as a material. Without my background in learning traditional techniques and pottery history, it would have been much harder for me to understand the materiality and forms within clay.  

Can you share how studying under renowned ceramic artists like TaeGon Kim and Inchin Lee helped you develop your current approach?

Yes, while apprenticing under TaeGon Kim after high school, I learned a lot about the technical side of working with clay.Clay is a medium that we can easily shape and sculpt, but drying and firing are entirely different challenges from just the making process. TaeGon shared his approach to creating large sculptures and gave me invaluable tips on fixing fragile pieces. He taught me to consider what makes a form stable and how to build delicate structures with careful thought. His questions always pushed me to think deeply, making every answer thought-provoking. Essentially, TaeGon's teachings laid the foundation for my overall understanding of ceramic art.
Inchin Lee, my professor and a father-like artist, is the hardest-working artist I know. I still vividly remember the first day I met him. As a graduate student under his guidance, he invited me to his studio, where he was looking for assistants. After becoming his assistant, I saw him throw more than 500 pieces of pottery in one sitting. I had never seen anyone work like that before. His commitment to his craft and his attitude toward clay had a profound impact on me, constantly reminding me of the true meaning of craftsmanship and what it means to live as a craftsman. Not only was observing his work incredibly valuable, but the sincere advice he gave me also helped shape and guide my dreams. I would sayTaeGon's teachings formed the intellectual foundation of my ceramic practice, while Inchin's lessons and dedication instilled in me the mentality and spirit of a craftsman.

You primarily work with clay sculptures. Why did you choose ceramics in the first place?

Simply put, I just like clay. I love its texture and softness. Even when I took drawing and painting classes in school, I always gravitated toward more three-dimensional forms. I think it's the absence of tactility in drawing and painting thatmade me more drawn to clay, as well as the process of completing ceramics with glazing and firing. 
Although I now focus more on the sculptural aspects of clay, my initial approach was to become a potter. Over time, however, I discovered the endless possibilities and creative freedom that come with sculptural clay pieces. While I deeplyappreciate pottery, I eventually wanted to move beyond vessel and container forms but ironically, I balance out making vessels form and sculptural pieces. 

How does working with clay specifically help you communicate emotions and narratives that might be harder to convey through other mediums?

Clay, with its malleability and flexibility, captures the maker's traces and imprints. This makes it unique compared to other mediums. For me, it's almost like keeping a daily journal, allowing me to channel different emotions—whether it's anger, anxiety, or urgency. Since clay is a tricky material, it has its own needs and constantly communicates with the artist. If you don't listen to it, it can become uncooperative, which leads to disappointing results. Creating successful work means caring for the clay and paying attention to how it responds.
When it comes to narratives, I let the clay speak to me as I work, guiding what the piece should become. My stories are often related to my cultural background and personal desires, but the content of the narratives can vary.

Found objects also play a role in your art. Can you describe how these objects influence your creative process and the stories you tell? How do you choose them, and how do you incorporate them into your pieces?

Even though I create most of my pieces from scratch, certain forms are hard to achieve, and other materials can bring different textures and impressions. That's why I started incorporating found objects into my work. My journey with found objects began with visits to antique and thrift shops. I love discovering aged or used items because they carry their ownhistory, heritage, and culture.
I don't search for specific objects to fit into my pieces; instead, I let the objects speak to me. The most exciting part is imagining how I will use an object and what it will become in the final work. The theme can be anything that resonates with me personally. I enjoy the process of building a story around the object and weaving it into the larger narrative of my art.

Your characters are described as "vessels for personal introspection and societal commentary, often encapsulating hidden desires and concealed emotions." How do these characters represent different aspects of your emotional landscape? And what influences or inspiration help you shape them? 

I try to be very honest with myself, especially since I started exploring my alter ego and identity through my work. As human beings, we often conceal our emotions—whether for good or bad reasons—to function in society. But in my art, I want to give voice to those inner emotions. Much of my inspiration comes from self-reflection and the desires I've had or will have.
One of my biggest influences is animation, especially from the 1950s to 1970s. Those old animations have a way of combining humor with deeper lessons about life through different situations. When I ask myself what I want to express, I start by creating either a rough storyline or a form for my creatures. Sometimes, the form comes first; other times, the narrative does—it really depends on what I'm fixated on at the time.

Humor and nostalgia appear frequently in your work. What draws you to these themes, and how do they contribute to your artistic expression?

I enjoy sharing memories of what I was into or what we all enjoyed when growing up. I believe everyone has had those imaginative moments—whether it's dreaming of being a hero or pretending to be Superman. That kind of playful thinking makes me reflect on what I can do for the world, society, or even for myself. I mean, aren't you curious what little "Superman Huey" would have done first? Or how he imagined gaining his superpowers?
Beyond the idea of becoming a hero, I also like using objects and animals in my work—things people can relate to. For example, I might illustrate my favorite foods, like tea or guilty pleasures. Today, we can even observe animals' lives on YouTube, which opens up endless possibilities for me to create my own stories by weaving these elements together.
I see being an artist as creating your own world, your own habitat. As a young emerging artist, I've been focused on building that world and expanding my artistic environment.

Your art combines cultural elements, including pop and Korean culture. How do you balance these influences to create something uniquely your own?

I am still figuring out how to balance both cultures, especially as I continue to adapt to Western culture while living in the U.S. Growing up in Korea, I've always tried to find a middle ground between the two. For example, my narratives often use a tiger as a main character. In Korean culture, the tiger is seen as a protector, a guardian that expels evil. But when I think of tigers in the U.S., the first image that comes to mind is Tony the Tiger from Frosted Flakes.
Balancing these two very different views of the tiger is one of the most enjoyable parts of my creative process. I can design the tiger as a goofy character or as a fierce guardian, blending both cultural references to create something new and personal.

Are there any new characters or themes you explore in your sculptures or drawings?

I'm expanding my character palette, not only in terms of storylines but also by exploring different genres. Recently, I've been incorporating bunny imagery inspired by the wild bunnies I often see around my studio at night. These bunnies can take on sensual or provocative meanings, or they can simply be themselves without deeper symbolism.
Most of my past work has been centered around my own personal experiences, but now I want to explore broader themes, especially from other perspectives. For example, I'm interested in current political issues—like the ongoing tensions in the world or gender issues that highlight the polarization in today's world. What artists think about these issues fascinates me, and I'm drawn to understanding other people's opinions and worldviews.
I believe we live in a time where it's more important than ever to appreciate different perspectives and cultural differences, and I want my work to reflect that growing need for empathy and awareness.

Looking ahead, what upcoming projects or exhibitions are you excited about, and how do you see your work evolving in the future?

This year, 2024, has been significant for me, as I've had the opportunity to showcase two solo exhibitions. Even though I canceled my solo show taking place next year for my personal issue, I have looked for a chance to showcase my new body of work in Kansas City. Currently, I'm working on a project for 2024-2025 during my residency, where I'll be creating a body of work inspired by the Asian zodiac, incorporating animal imagery to build new storylines.
Since earning my MFA, I've been exploring ways to connect with people through my art. While my graduate work focused more on academic themes, such as finding my voice and identity, my residency has been about refining and evolving my work. It's hard to predict exactly how my art will develop in the future, but I hope it will continue to grow and improve in ways that resonate with both myself and others.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.