CM: How did you arrive at your approach to using color, pattern, and mark making on figurative work?
KY: I became fascinated with glazing and surface treatment techniques while working for my bachelor’s degree at The Evergreen State College under Mike and Karen Moran. I paint on clay forms using traditional and non-traditional ceramic media. I fire my work multiple times, hoping to add depth and richness as a painter would to a canvas.
I have come to look forward to the element of surprise that the layering of thin and thick applications of glazing and slips yields every time I open the kiln. This process allows me to play with brushstrokes and texture, and I search for the surfaces that allow a figure to come to life.
I work with light, shadow, pattern, texture, and rhythm. Japanese Zen gardens symbolically contain the whole world, and all of its elements and movements, within a neatly contained space. Like a garden, I am interested in bringing form, surface, and color into a unified composition. I seek a way of seeing things that is a way of feeling, hearing, or smelling them as well. From the way a wash inlays into a texture, to the way that the figures are arranged in a space, I seek a level of actualization with objects that stimulates all of the senses at once.