Hyo's Interview

In the following conversation, Galerie Rivière talks with ceramic artist Hyo (née Dohyeon Eom) whose work thoughtfully blends Korean tradition with the rural influences of Brittany, France, where she currently lives and works. Her pieces are characterized by their delicate balance between utility and beauty, transcending the functionality of everyday objects.


Hyo’s work encourages us to consider the connections between craft, nature, and culture. Her pieces, shaped by tranquility and patience, evoke the same meditative effect that she pours into their creation. In this interview, she discusses her inspirations, techniques, and the evolving dialogue between the cultural background and the life she has built.

Can you tell me about what you’re currently working on and the ideas or concepts you’ve been exploring in your recent pieces?

HYO: These days, I’m working on crafting Gaiwan, a traditional Chinese tea vessel that has been used since ancient times up to the present day. It consists of a bowl that resembles a simple cup, paired with a saucer and a lid, forming a complete set. Among tea vessels, it’s the simplest in terms of form and function, yet it’s considered a versatile tool for brewing tea since it precisely controls steeping time and doesn’t retain any scent, allowing for a variety of types of tea.

This vessel also holds deep philosophical significance in Eastern thought: the saucer represents the earth, the body of the cup represents humanity, and the lid represents the sky. In this way, the gaiwan encompasses a meaning that embraces the entire world. This concept holds special meaning for me, as I draw much inspiration from nature. Creating a gaiwan feels like constructing the earth, shaping the body, and crowning it with the sky—it’s so beautiful, isn’t it?
My hope is that this feeling will be conveyed to those who brew tea in the gaiwan I craft.

That’s so moving. Are there other traditional Korean crafts or motifs that you’ve incorporated
into your work?

H: I recently traveled to Korea, where I had the chance to visit the Craft Museum in Seoul. There, I saw a significant exhibition on Korean embroidery. The colors, shapes, and textures were breathtaking. Embroidery, like ceramics, is a craft that has woven its way into Korean life.
What fascinated me in this exhibition were not only the colors and forms but also the symbols and messages represented by the embroidered flora, fauna, and objects, as well as inscriptions.
The lotus symbolizes a wish for rebirth, the pomegranate expresses a desire for abundance and fertility, while cranes and deer are seen as companions to the immortals, bridging heaven and
earth, symbolizing longevity and health.
I discovered so many traditional Korean symbols, which I would love to incorporate into my future creations.


What first drew you to working with clay, and how has your relationship with it evolved over time?

H: From a very young age, I loved creating things with my hands. In Korea, I occasionally engaged in ceramics as a hobby. Though while studying contemporary art in France, I set aside my ceramic work. It was only a few years after graduation, when I unexpectedly joined a ceramics class, that I rediscovered its profound appeal. Slowly, it began to take up more space in my daily life.

Having majored in photography at an art school in France, I’ve always kept in mind the possibility of combining photography with ceramics. Though I haven’t yet tried, I’m eager to experiment with printing photographs onto ceramics. What would happen if I photographed these printed ceramics and reprinted the photo onto another ceramic piece? It’s a project I’m determined to experiment with someday.

It seems that you’ve had experience with many forms of creative media and approaches to craft, can you talk about your decision to pursue ceramics?

H: In Seoul, I studied industrial design, driven by an admiration for design and a desire to create captivating objects. But I ultimately realized that I was more drawn to the tangible creation process of working with my hands than to the virtual space of computers. Studying design in Korea taught me about balance and aesthetics within a single object, while in France, my study of contemporary art encouraged a more daring, experimental approach to creation. And my life in Brittany, so close to nature, gave me countless opportunities to learn from and be inspired by the natural world.

Moreover, the relaxed lifestyle there—one that allows for patience and unhurriedness—has been perfect for developing my ceramics work, which requires a long time and dedication.


You’ve spoken about the influence of Brittany’s natural landscapes. How has living abroad shaped your identity as a Korean artist?

H: The environment in which a person finds themselves inevitably has a profound influence on them. The simplicity and harmony of traditional Korean aesthetics blend naturally with the textured, organic qualities inspired by the landscapes of Brittany, creating a unique dialogue in my work.

What’s fascinating is that it was only after living abroad that I truly developed an interest in Korea’s traditional culture and craftsmanship. Living in France, a country so entirely different from my own, made me reflect on who I am, what makes me unique, where I come from, and the roots that define me. Today, I aim to create works that naturally blend the influences of both cultures—the France where I now live and the Korea where I was born and raised. These two worlds come together seamlessly in my creations, embodying the essence of both.


Your work beautiful reflects tradition and environment and you and your interests as an artist, how do you balance traditional techniques with exploring contemporary expressions in your work?

H: There is nothing forced in my work. I absorb everything I find beautiful, internalize it in my own way, and create from that. Every step flows naturally. I believe this is precisely why, even though I craft traditional tea wares and objects, those who see my creations often perceive them as modern. It is this harmony between the traditional and the contemporary that defines my work.

How do you approach creating a new piece? Can you walk me through your process?

H: Each simple piece requires extensive preparation, so I need at least three uninterrupted hours to begin my work. I first envision, even vaguely, the kind of vessel I want to create, and I may sketch a rough design in my notebook. Visualizing it helps clarify my ideas.

Then, I prepare the clay, which is the part of the process I’m most dedicated to. I knead and press the clay to remove air bubbles, achieving a uniform density and consistency. Afterward, I place the clay on the wheel, centering it precisely, then pulling it up and pressing it down to soften it. Once the clay is ready, I shape it into the desired form—a cup, a bowl, a teapot, a vase.

What’s fascinating about this stage is that, rather than rigidly sticking to the shape I initially envisioned, I often follow where my hands naturally take me. Letting my hands lead, I sometimes discover surprising forms.

Once I finish shaping the vessel, I allow it to dry before refining the surface. During this phase, I might draw on the piece or carve designs into it. If it’s a teapot, I assemble the body, spout, and
handle. Once fully dry, I fire the piece at 980°C for the first time, then apply glaze. Even the same glaze can yield drastically different results depending on its thickness, viscosity, and overlap with other glazes. After glazing, I fire it a second time at 1280°C, completing the long journey of bringing a single piece to life. Each step is valuable, despite its length.

The entire process demands focus and time, and for me, it’s almost meditative. My hope is that the energy I pour into each piece will shine through, making its presence felt.


What’s been the most surprising or unexpected lesson ceramics has taught you?

H: I used to think of myself as someone who gets bored easily and lacks patience. But through
my work with ceramics, I’ve surprised myself. I never imagined that I could hold onto something
so consistently and carry it forward for such a long time.

Ceramics is a journey of both awe-inspiring successes and arduous failures. I believe that the
reason I’ve been able to persist, even through countless failures, is the sheer beauty of ceramics
itself. It is this beauty that keeps me devoted to the craft, no matter the challenges.


Finally, what advice would you give to someone just beginning their journey in ceramics or any form of craft?

H: Once you’ve started, it’s important not to rush. Take your time and find your own pace and rhythm. Even if the destination is the same, there are countless paths to get there. Creating a
journey that suits you is, I believe, what truly holds value.

Looking back, I realize that the moments when I embraced slowness and took time to reflect
were when my most meaningful creations came to life. I would also emphasize the importance of spending ample time alone. Ceramics demands solitude, a space to reflect and connect
deeply with the craft.

Hyo's Collection

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