Cross-Continental (con)Fusing: The Space Between

Abstract

In the U.S. I started to use this awareness to subvert masculine traditions and re-interpret them for my own practice as a maker. Here, I am learning to balance the best of both the Masculine and Feminine, just as I am learning to balance the East with the West for my own sense of beauty and value. Much like the masculine tradition of Onggi, my work is large, repetitive, and manipulates mass and volume in form and installation. Labor too, is a key component in my work, just as it is for a studio potter. As I grew up in a studio pottery environment, I could not fully reflect on the masculinity of this pottery tradition until I was geographically separate from my home. Once this separation occurred, I could reflect on these traditions from an outsider’s perspective. From outside my culture, I don’t need to think of myself as a weak woman.