Q. Please introduce your work.

Usually, crafts entail creating something with a function―but in my case, I don¡¯t create functional crafts; instead, I create objets d¡¯art that embody my desired expressions.

This is well exemplified in the Transition series, which began in 2019. Among them, I would like to highlight Transitions I, II and III as representative works. They were the first works in which I completely changed my style and publicly unveiled them. They are also special works that have shaped who I am today.

Transition V―introduced in 2020―is another notable piece. It was created when the techniques I had experimented with while making the Transition series were stabilizing.

Lastly, there is Transition VII―a work that made it to the finalists of the Loewe Craft Prize after five years of challenges. It maximizes the concept of ¡°my own.¡± I meticulously examined the production process to ensure that my unique sense of sculpture and the inherent charm of the work itself could shine through strongly.

Q. The Transition series particularly stands out in terms of form.

In the past, I mainly created works with a minimalistic feel and geometric structures―with the overarching theme being ¡°viewing the world from a third-party perspective.¡± However, when I went to study in the U.S., the theme of my work shifted to ¡°myself in a new environment.¡± Concurrently, the visual language of my creations underwent a gradual transformation. Instead of projecting my situation onto human-shaped objects, I began to envision it as single-celled organisms.

The reason for this is that during my studies abroad, I realized I had always liked the forms of living organisms. My mother tells me that when I was very young, I loved fish when we lived in Pohang. The memory of experiencing something with the organic form of living creatures always stayed with me, and even when I doodled, I often drew such things. Reflecting on this realization while studying abroad, I started shaping my current artistic style by incorporating the things I used to like―whales or fish―into the forms of my works as an inspiration.

Q. It seems like you place special emphasis on form.

I aim to articulate my thoughts through form―simultaneously, I endeavor to seamlessly integrate themes and the process of shaping my worldview into my creations. I firmly believe that an artist should show their unique perspective on the world. Therefore, just because someone else¡¯s work is aesthetically excellent doesn¡¯t mean I should easily imitate it. Likewise, even if an artist¡¯s style changes, their work should not appear as someone else¡¯s.

In that sense, form is the most important means of communication between me and the audience. Therefore, I pay more attention to form than to the work¡¯s texture or color. Similarly, I consider the formal coherence between works important. I hope people can recognize any of my works as belonging to Jaiik Lee―regardless of which one they see.

Q. The work doesn¡¯t seem to be made of metal.

That¡¯s because I spray ceramic pigment on the work. Another source of inspiration for my work is the moon jar. In my early 20s, I saw a somewhat distorted moon jar at the British Museum¡¯s Korean Gallery. Initially, I found its shape unappealing, but over time, I grew to appreciate the irregularity of the moon jar and began exploring ways to recreate it. In the process, I learned that Korean clay is unsuitable for making large objects, leading to uneven surfaces in my attempts to create larger pieces. Given my Korean heritage, and recognizing similarities between the irregular shape of the moon jar and my own work, I embraced it as a significant source of inspiration.

From left to right, CN 2, CN 3, CN 1 (2021), side table (art furniture)