On Friday, March 7, the Charles B. Wang Center hosted the opening of the solo exhibition titled “Cycles of Clay: The Ceramic Narratives of Sunkoo Yuh” by renowned ceramic artist Sunkoo Yuh.
A professor of art at the University of Georgia, Yuh is celebrated for his intricate and symbolic ceramic sculptures, which weave together personal narratives, cultural influences and social commentary. Prior to the exhibition’s official opening, Yuh gave a lecture titled “Glazed Realities: A Journey in Clay,” offering an intimate look into his artistic evolution, material experimentation and philosophical musings on the longevity and purpose of art.
Yuh described his sculptural process as a method of layering, both visually and psychologically. He emphasized how each piece builds upon itself, creating a dynamic interplay of figures, colors and textures that reflect the complexity of human experience.
“I start from the bottom and put some figures around and bring it up. It kind of grows from the bottom to the top,” he explained. “For 20 years, I thought my work contained many unknown stories, not just one narrative line, but many woven together.”
A hallmark of Yuh’s work is his unpredictable glazing technique. He applies multiple layers of high-temperature glazes — often more than 40 on a single piece — to relinquish some artistic control.
“I like to lose control in that way,” Yuh said. “Sometimes tragic things happen — cracks, pieces falling apart — but occasionally, something beyond my imagination emerges.”
This experimental approach introduces an element of spontaneity, embracing the balance between order and chaos.
Yuh’s process is both painstaking and precise. He starts with intuitive pen-and-ink drawings that lay the foundation for his vibrant narratives, establishing a dialogue between his artistic vision and everyday life. After refining his ideas on paper, he transforms them into three-dimensional clay sculptures, which undergo a meticulous firing process that imparts a unique texture and depth to each piece.
One of Yuh’s most ambitious works, “Long Beach Summer,” took months to complete. He explained the necessity of building the sculpture in sections, allowing each part to dry at a precise rate before assembly.
“For larger pieces, I intentionally make certain areas thinner to reduce weight,” he noted in his lecture. His technical expertise ensures that each piece withstands the demanding ceramic process while maintaining intricate detail.
Deeply rooted in his Korean heritage, Yuh draws inspiration from traditional Korean ceramics, such as Buncheong pottery and folk paintings from the Joseon Dynasty. These influences shape his use of humor, symbolism and multi-perspective compositions.
“In Western perspective, there is often one fixed viewpoint, but in Korean folk painting, there are multiple perspectives,” Yuh described.
This idea translates into his sculptures, where different angles offer new interpretations and layered narratives. His work seamlessly blends folkloric Korean iconography with contemporary themes, incorporating subtle critiques of politics, religion and family structures. Working in the round with a soft material provides the perfect medium to merge histories and cultural influences.
One of his most notable pieces, “Memory of Sabbath,” is a large-scale porcelain mural created in China using traditional porcelain techniques. The project tested Yuh’s skills as he navigated the demanding process of firing massive tiles.
“Out of a hundred tiles, only about twenty survived the firing process,” Yuh recalled. The mural stands as a testament to his perseverance and dedication to pushing the boundaries of ceramic art.
Attendees of the lecture and exhibition were deeply moved by Yuh’s work, appreciating both its emotional depth and technical mastery. Kimberly Marino, a retired medical writer and potter, was particularly captivated by his craftsmanship.
“I feel like I’m drawn in, and I can’t leave,” she said. “There are so many individual components to his pieces, and I’m in awe of the construction, the glazing and the way he weaves humor into his work. There’s always something new to discover.”
Ann L. Berrios, a business manager in the Department of Africana Studies at Stony Brook, was also struck by the exhibition’s impact.
“The sheer scale of his work is incredible,” Berrios remarked. “Knowing how fragile ceramics can be, it’s impressive to see these massive, intricate sculptures come together so seamlessly.”
Karen Warren, an assistant to the director of the Consortium for Inter-Disciplinary Environmental Research, added that she connected to Yuh’s lecture.
“Hearing about his struggles and his persistence in following his passion really resonated with me,” Warren said.
In his lecture, Yuh also discussed the additional challenges of creating large-scale sculptural works, particularly the physical demands of working with clay. He explained how he carefully plans weight distribution and drying times to prevent collapse.
“For larger pieces, I have to use forklifts to move them into the kiln,” Yuh said. “The moment when I open the kiln is always the most exciting — and the most nerve-wracking.”
As his career progresses, Yuh continues to reflect on his artistic journey and future direction.
“For 30 years, I tried to understand who I am and what I really want to do. Now, in this last chapter, I want to create something not about me, but about the future,” he shared in his closing remarks.
