崔成在：水鸭是生活的隐喻——IAC韩国区理事候选人专访

崔成在 Choi Sung-Jae 作品

策划Planner：陈恩泽 Ben Chen

采访Journalist：韩鹿 Han Lu

翻译Translator：余晖 Sophia Yu，韩鹿  Han Lu

摄影 Photographer：周斌 Zhou Bin

艺术家简历

崔成在（韩国）

韩国国立传统文化大学陶艺系教授

本科毕业于弘益大学艺术学院陶瓷系（1985）

硕士毕业于弘益大学研究生院（1990）

教授课程：传统陶瓷复制研究，传统陶瓷实践，建筑陶瓷实践，传统建筑陶瓷研究

作品欣赏

对话艺术家

即兴创作者

问

您为何倾向于用化妆土来做传统器型的装饰？您主要采用哪些种类的化妆土？

Why would you turn to use engobe to do traditional decoration?  What kinds of engobe do you mainly use?

전통적인 기형을 장식하실 때, 화장토를 특히 선호하시는데 사용하시는 이유가 있을까요?  어떤 종류의 화장토를 사용하시나요?

答

黏土既可以用于化妆土的制作，也可以用于陶瓷形态、装饰和釉料的制作。对于陶瓷来讲最基本也是最重要的问题，便是对各种黏土材料应用方法的思考。使用充满水汽且带有柔和水性的化妆土，通过自由奔放的粉妆手法，找寻画面中绘画性的表现技法很符合我的个人喜好。这样在作品创作中也充满了幸福感。

Clay can be used in the making of engobe as well as in the making of shapes, decorations and glazes. For ceramics, the most basic and most important problem is the consideration of the application methods of various clay materials. It is in line with my personal preference to use the soft and wet engobe, and to find the painting expression techniques in the picture through the free and unrestrained engobe painting techniques. This is also full of happiness in the creation of the work.

점토는 화장토를 만들수도 있고, 도자기 형태를 만들수도 있고 장식을 할 수도 있고 유약으로도 쓸수있고 가마도 만들 수 있습니다. 도자기에 있어서 가장 기본적이면서도 중요한 질문은, 점토재료들을 어떻게 활용 할 것인가에 대한 문제라고 생각합나다. 물기가 가득한 부드러운 물성의 백색 화장토를 사용해서, 자유 분방하게 분장을하는 행위의 과정을 통해 작품의 회화성을 찾아가는 표현기법이 저의 개인적 성향이랑 잘 맞는다고 생각합니다. 작품을 하는 동안 행복감이 충만해집니다.

问

从您的创作手法上来看，您是先在器物上浇一遍化妆土，在化妆土还没干的时候就即兴作纹样装饰，您为什么会喜欢作即兴创作？

From the perspective of your technique, firstly, dressing engobe on the utensils, and improvise decoration before it’s dry. Why do you like to improvise?

교수님의 작업 기법으로 보았을 때, 먼저 기물에 화장토를 부어주고, 마르기 전에 장식을 즉흥적으로 해나가십니다. 그러한 즉흥적인 작업을 선호하시는 이유가 있으십니까?

答

在施化妆土到化妆土变干硬前的状态，对于我个人来讲，是最能体现可塑性黏土本性的。从这点上来看，这种柔和水性状态下的黏土，与其他任何时候相比都更便于使用，也能更好地被陶艺家用于自己作品的表现。选择这个时间点创作作品也和我的个人倾向很吻合。简单一句话就是，在（化妆土的）柔软状态下表现某种东西，就像在做作品的过程中找寻未知世界一样有趣。

For me personally, the state before applying engobe to dry and harden it is the best expression of plastic clay nature. From this point of view, clay in this soft, watery state is easier to use than at any other time and is better used by ceramists in their own work. It is also very consistent with my personal inclination to choose this time to create works. In short, representing something(engobe) in a soft state is as much fun as finding the unknown in the process of making a work.

화장토를 바르고 마르기 전의 상태, 이 부드러운 상태가 저에게는 가소성이 있는 점토의 본래 성질을 가장 잘 나타낼수 있다고 생각합니다. 이 시점이 그 어느때 보다도 점토의 부드러운 물성을 제일 잘 활용할 수 있는 상태이며, 점토 재료에 작가의 작품행위의 과정이 잘 표현될 수 있습니다. 이 시점을 선택해서 작품을 만드는 것도 저의 성향과 잘 맞습니다. 간단하게 말하면 화장토의 부드러운 물성을 활용하여 즉흥적인 표현을 하는 것이 흥미롭고 작품을 제작하는 과정이 미지의 세계를 찾아가는 것 같이 재미있습니다.

问

在做即兴创作的时候，您经常用到干树枝，手掌，手指，而不用毛笔或者陶艺刀，您似乎更喜欢直接来自大自然的工具，是这样吗？

When you improvise, you often use dry branches, palms and fingers instead of a brush or a ceramic knife. You seem to prefer tools that come from nature, right?

작업에 임하실 때 즉흥적으로 드로잉 하시는데, 주로 마른 나무가지(또는 지푸라기), 손가락, 손바닥을 사용하시고 붓이나 도자칼은 사용하시지 않습니다.  자연에서 가공하지 않은 것을 도구로써 사용하시는 것 같습니다, 맞나요?

答

陶艺家的工具是可以有效地使（作品）表现力最大化的。根据使用何种工具的不同,可以表现出不同的绘画性线条感。在我的作品中，带有不可预测自然之美的不规则线条的和谐中，是存在着自然的。为了表现那份自然而使用自然物作为工具，为了表现崭新的自然感而使用在自然中采集的和发现的工具，我一直为达到此目的而奋斗向前。

The potter's tools can be used to maximize expression effectively. Depending on which tool you use, you can show different sense of drawing lines. In my work, there is nature in a harmony of irregular lines of unpredictable natural beauty. The use of natural objects as tools in order to express that part of nature beauty, the use of tools gathered and discovered in nature in order to express a new sense of nature, I have been striving to achieve this goal.

작가의 도구는 표현력을 효과적으로 극대화시켜 줍니다. 어떤 도구를 쓰느냐에 따라 회화적인 선의 느낌을 다르게 표현할 수 있습니다. 저의 작품에는 자연스러운 아름다움(예측하지 못한), 의도적으로 그리지 않은 불규칙적인 선의 조화 속에 자연이 있습니다. 그 자연을 표현하기 위해서 자연물(나뭇가지, 거친 귀얄, 볏짚, 풀뿌리, 손가락 등)을 도구로 사용하고, 새로운 자연의 느낌(선) 을 표현하기 위해서 자연에서 채취하고 발견한 도구를 쓰려고 노력하고 있습니다.

施粉青化妆土时，化妆土的水汽渗透到器壁里之前，在柔软的状态下，需要在极短时间内完成作品，才能留下带有柔和化妆土感觉的绘画作品。陶艺家应该在预测出在绘画创作瞬间会展现出什么样的形象，并构建出和谐的空间。要想做到这一点,必须通过丰富的作品创作经验,从本能上培养自身的感觉和直觉。完成化妆土作品的时间窗口并不长,而是需要通过瞬间的行为完成,因此失败率也很高。所以我觉得全神贯注，大量创作作品才是能做出好作品的方法。把制作更多作品当成一个享受过程的话，是能产生意料之外好作品的。听说自己的第一个作品是下一个作品的老师。（因此）我认为，越创作更多作品，越能自然而然地得到好作品。 

Before the moisture of the engobe penetrates into the body, it needs to finish the work in a very short time in a soft state, so as to leave the painting with the feeling of soft engobe. The potter should predict what kind of image will appear at the moment of painting creation and to construct a harmonious space. In order to achieve this, we must develop our own sense and intuition instinctively through rich experience in the creation of works. There will be no long time to complete engobe painting works, it needs to be completed through instantaneous behavior, so there will be a high failure rate. I think the way to create good works is to concentrate and do it more. It can produce surprisingly good work if you consider creating more works as a pleasurable process. I heard that the first work is the teacher of my next work, that’s why I think the more works you create, the more good works you get.

분장작업은 분장의 물기가 기물의 벽으로 스며들어 마르기 전 촉촉한 상태일때, 짧은 시간 안에 작품을 완성해야 부드러운 화장토의 느낌이 회화적인 작품으로 남게 됩니다. 작가는 그 드로잉 행위의 순간 순간 어떤 이미지가 드러날지 예측하고 조화롭게 공간을 구성해야 합니다. 그렇게 되려면 많은 작품 경험을 통해서 본인의 감각, 직관이 본능적으로 길러져야 합니다. 분장작업은 작품을 완성하는 사간이 길지 않고 순간적인 행위를 통해서 이루어지기 때문에 실패율도 많습니다. 그래서 온 정신을 집중해야 하며, 오로지 많은 작업의 양 만이 좋은 작품을 할 수 있는 최선의 방법이라고 생각합니다. 많은 작품을 집중하여 만들다 보면, 예측하지 못한 재미있고 훌륭한 작품이 탄생됩니다. 자신의 처음 작품은 다음 작품의 스승이라고 합니다. 많은 작업을 하다 보면 자연스럽게 좋은 작품을 할수있게 된다고 생각합니다.

问

您害怕即兴创作带来的不确定性吗？如果失败了您会怎么办？

Are you afraid of the uncertainty of improvisation? What would you do if you failed?

즉흥적으로 작업을 하시다보면 (작업의 형태나 방향이) 명확하지 않을 것 같은데요, 만약 실패작이 발생할 경우 어떻게 대처하십니까?

答

对于如何使用树枝或食指触碰的方式，在极短时间内更有对于如何使用树枝或食指触碰的方式，在极短时间内更有效地表现水面成行游泳而过鸭子形象的问题，我从美感和即兴创作特点两方面考虑了很多。如同自然中的一个场景，自然而然出现的湖泊、湖泊边的水草、游鸭和由天空、水面来呈现的留白空间之间构成的和谐画面，正是我想表现的自然的陶瓷绘画作品。

I thought a lot about the aesthetic and improvisation characteristics of how to use a branch or forefinger touch to represent image in a very short time more effectively  about a group of duck swim on river. Just like a scene in nature, with lake, aquatic plants beside the lake, swimming ducks and the blank space presented by the sky and water constitute a harmonious picture, which is exactly the natural pattern I want to express.

물 위에 한 가로이 유영하는 오리의 모습을 표현하는 이유는, “나뭇가지나 손가락 터치로 작품 표현할 때 작은 터치를 가장 효과적인 모양(1. 아름답고, 2. 짧은 시간에 묘사하기 좋은 형태)을 표현할수 있는것이 무엇인가? ” 라고 오랫동안 고민을 했습니다. 자연의 한 장면같이 자연스럽게 나타나는 호수나 물가의 수초, 오리가 하늘, 물로 보여지는 공간의 여백과 조화로운 그림으로 보여지는 이 회화적인 문양이 작가가 표현하고자 하는 자연스러운 도자 회화입니다.

问

您的装饰图案大多以抽象的自然题材为主，比如树枝，叶子，鸭子，留白的地方像水，如果我没有理解错的话。为什么您会喜欢表现水面的景色？

Most of your decorative patterns are based on abstract natural themes, such as branches, leaves, ducks, and negative space like water, if I understand correctly. Why do you like the view of the water?

교수님 작품에 대부분 추상적인 자연의 이미지가 주로 등장하는데요,  예를 들면 나무, 나뭇잎, 오리, 물가 등입니다. 작업하실 때 자연 속 물가의 풍경을 주로 표현하시는 이유가 있으실까요?

答

我并不是想把日常生活中发生的一切，例如午休、旅行、等待、这些自然的瞬间画面当成水面的游鸭来对待。作为陶艺家我想表现的更多在于，将游鸭想象成可以代替人类日常生活的隐喻内容。在本人作品中出现的鸭子，并不会单纯地将它认为是在水面嬉戏地自然的鸭子。像旅行、休息、等待等人类世间一样的人生百态的瞬间，想要通过鸭子隐喻人类生活各个平凡瞬间的方式来表现。鸭子是象征人类的自然生命体。

I don't want to treat everything that happens in my daily life as swimming ducks on the water, such as siestas, trips, waits, and moments of nature. As a ceramist, I turn to concern that imagine the swimming duck as a metaphor for human daily life. The ducks in my works are not simply regarded as natural ducks that play on the water. I want to metaphorically represent the duck instead of human life, such as people  who are traveling, resting, waiting and other life moments. The duck is a natural symbol of human life.

일상에게 일어날 수 있는 일들, 한낮의 휴식, 여행, 기다림, 자연 속에서의 자기의 모습들, 이러한 이미지들은 단지 호수 위에 유영하는 오리라고 생각하지 않습니다. 작가로써 저의 작품을 표현하는 관점은 인간의 일상사를 대신할 수 있는 삶의 은유적 내용이라고 상상합니다. 본인 작품에서 오리가 있는 작품은 단순히 호수에 노니는 자연속의 오리라고만 생각하지 않는다. 여행, 휴식, 기다림 등 인간의 세상살이 같이 삶의 다양한 일상의 순간들을 오리를 통해 인간의 삶을 대신하여 은유적으로 표현하고자 합니다. 오리는 인간을 상징하는 자연 생명체입나다.

问

为何您的作品里一直有鸭子？鸭子对您来说有特别的意义吗？

Why would you always paint ducks in your works? Do ducks mean special to you?

교수님의 작품 속에 오리가 자주 등장하는 이유는 무엇인가요? 교수님께 오리는 특별한 의미가 있는 존재인가요?

答

1992年我观看了有关于海湾战争的电视新闻。也看到了在因在战争轰炸中被破坏的输油管上,沾满油污的黑鸭子(鸟)。那时候，对于鸭子给我带来的震撼和强烈印象，并不只是单纯地作为动物形象，而是把它当成人类的日常生活片断来看待。那之后，我也曾经做过在湖面嬉戏鸭子的作品展览。也曾听到过某个小孩看着作品中鸭子的形象，通过自己的回忆，把鸭子比喻成自己家人幸福回忆的对话。我作品中湖水表面或岸边嬉戏的鸭子，象征性的比喻成了人们的生活日常，有其他观众也能感同身受，对此我也感到非常有趣。

In 1992, I watched the TV news about the Gulf War. I also saw black ducks smeared with oil on oil pipelines that had been damaged by bombing raids during the war. At that time, I was impressed by the duck, not just as an animal, but as a fragment of daily life. After that, I also had an exhibition of works that ducks playing on the lake. And I have also heard a child looked at the image of duck in the work and compared the duck with his happy family through his own memories. Ducks frolic on the surface of lake in my works are symbolic metaphors for people's daily life, which is also very interesting to me.

1992년 걸프전쟁 관련 TV 뉴스를 봤습니다. 전쟁 폭격으로 파괴된 송유관에서 새어 나온 바닷가의 기름을 뒤집어쓴 검은 오리(새)들을 봤습니다. 그때 오리에게서 충격적이면서 강렬한 인상을 받았고 단순한 동물의 모습이 아니라 인간의 일상생활의 단편적인 모습이라고 생각이 들었습니다. 또 호수가에 유영하는 오리 작품을 전시한 적이 있는데, 어린아이가 작품속 이미지를 보고 자기만의 추억을  통해 가족들과의 행복했던 기억을 비유하여 이야기하는 것을 들었습니다. 제 작품의 표현이 호수나 물가의 오리이며 인간 일상사를 상징적으로 비유한다고 생각하는데, 다른 관람자도 똑같이 느끼고 생각하는 것이 무척 흥미로웠습니다.

问

有哪些美学理念影响过您的创作吗？

Are there any aesthetic theories that have influenced your works?

교수님 작품의 예술적 사조에 영향을 준 것은 어떤 것 입니까?

答

本人在心理上受佛教思维影响较深，思考生活道理的方式也多源自于佛教。通过自然感受到人类世界的真理，因因缘关系而彼此同化后融合在一起，既有种神秘感，也不失为是一种幸福。个人对于观察存在、生活于自然中的人类，也致力于在我的作品中表现这种自然。对于自然的观察和思考深深地影响了我的作品。

I am deeply influenced by Buddhist thoughts psychologically, and the way of thinking about life is mostly derived from Buddhism. To feel the truth of world through nature, and to assimilate and merge with each other through Karma is also a kind of happiness. Personally, I like to observe human beings living in nature, and I am also committed to show this nature in my works. My observations and reflections on nature have deeply influenced my work.

본인은 정서적으로 불교적인 사유룰 많이하며 일상의 이치들을 생각하는 방식들이 불교적인것에 바탕을 두고 있습니다. 자연을 통해서 인간사의 원리를 느낍니다. 서로 동화 되고 인연으로 관계로 어우러지는 것들이 신비롭고 행복합니다. 자연에 대한 관찰에 대해 본인은 자연 속에 인간이 있고 함께 살고 그러한 자연을 관찰하는 것이 흥미로우며 그런 자연을 작품에 담고 표현하려고 노력합니다. 자연에 대한 관찰과 생각이 작품에 많은 영향을 줍니다.

问

能否向读者介绍您下一步想要创作的作品？

Would you please introduce your next work to readers?

(독자들에게) 다음 작품 계획에 대해 이야기해주실 수 있으신가요?

答

到20世纪90年代为止，我一直专注于造型和装置艺术。从90年代末期开始尝试创作使用粉妆技法制作的绘画性作品。最初时是使用传统粉妆技法创作现代作品，最近一段时间以来致力于在白瓷上使用粉妆技法表现青花的感觉。将钴的强烈颜色最大化，展现出力量感的方式，是为了放大新作品的表现力。而从现在开始，相比于对作品的直接表现，我更想创作出根据观看者的理解而感受到不同、根据视角能够进行不同解释的抽象的，带有岁月痕迹的作品。

Until the 1990s, I focused on plastic art and installation art. From the end of the 1990s, I began to try to use engobe decoration techniques to paint. At first, I used traditional engobe techniques to create modern works. Recently, I’ve been devoted to the use engobe techniques on porcelain to express the feeling of blue and white. The way to maximize the expression of my new works is to maximize intense of cobalt   and show a sense of power. From now on, I would like to create abstract works with traces of years that can be felt differently according to the viewer's understanding and interpreted differently according to the perspective rather than the direct expression of the works.

1990년대 중반까지는 주로 조형, 설치작업을 했었습니다. 1990년대 말 부터는 분청사기의 분장기법을 이용한 회화적인 작업을 시작하였습니다. 처음에는 전통적인 분장기법을 현대적으로 표현하는 작업을 했고, 최근에는 백자에 분장으로 청화의 느낌을 표현하려고 노력하고 있습니다. 코발트 빛의 강렬한 색을 극대화해서 힘이 있는 느낌을 표현합니다. 이것은 새로운 작품의 표현력을 확장 시키는 것입니다. 이제부터는 작품에 직접적인 표현보다는 생각해야 이해가 되고 또한 보는이에 따라 다르게 해석될수 있는 추상성과 세월의 흔적, 연륜이 느껴지는 작품을 하려고 합니다.

材料研究者

问

您在1990年写过一篇关于美国现代陶艺表现力研究的论文，这么多年过去后，您眼中的美国现代陶艺有什么新变化？

In 1990, you wrote a paper about the expressive of modern American ceramic art. After so many years, is there any change has taken place in modern American ceramic art?

교수님께서 1990년에 '미국현대도자예술표현력에 대한 연구 논문을 발표하셨습니다. 수 년이 지난 현 시점에서 교수님께서는 미국의 현대도예에 새로운 변화 동향을 어떻게 보십니까?

答

90年代的美国：超越传统概念上的陶瓷与粘土的界限,将陶瓷做大做强，以造型和装置的方式表现着美国社会上的热点问题。美国吸收了世界上所有文化中的一切方法后，以他们自己独特的方式再创了一套之前并不存在的新秩序。美国的陶瓷史很短，因此更多地希望接收、吸收多种多样的世界陶瓷文化，参考这些陶瓷的制作手法,以美国非常具有创意和独特的陶瓷形式进行表现。简单来说就是，吸收一切后用独创的全新方式进行重组。

现在的美国：现代美国的陶艺趋势是具有多样性和极大化新概念陶瓷备受瞩目。针对陶瓷材料和陶瓷可塑性进行研究的陶艺家非常活跃。“这样的东西也可以被称为陶瓷吗？”像这种程度的令人津津乐道的挑战会被鼓励通过制作超出想象范畴的作品的形式去尝试。个人认为陶瓷正自信地迈向另一个崭新的现代美术领域。

The United States in the 1990s: transcend the traditional conceptual boundary between ceramics and clay, make ceramics bigger and more powerful, to express the hot issues in the American society in plastic art and installation art. By assimilating every method from every culture in the world, The United States has recreated a new order in its own unique way. United States’ ceramic history is very short, so she hopes to receive and absorb a variety ceramic cultures in the world, refer to the production techniques, and express the unique ceramic in form of the United States. In short words, absorb everything and reorganize in an original way.

Today’s America: The trend in contemporary American ceramics is toward new concepts of diversity and maximization. Ceramists who study about ceramic materials and ceramic plasticity are very active. "Can such a thing be called ceramic?" A challenge of this magnitude is to be encouraged to try it out in the form of work that goes beyond the realm of imagination. Personally, I think ceramics is going into a new field of modern art.

1990년대 미국 : 전통개념의 도자와 점토의 한계를 초월하여 도자기를 크게 만들어서 조형적으로 설치하는 방법, 미국 사회적 이슈를 표현하는 방법

- 미국은 세계의 모든 문화의 창의적인 방법을 모두 수용하고 그들만의 방법으로 지금까지 존재하지 않던 새로운 질서를 창조하는 것을 권장합니다. 미국은 도자기의 역사가 짧아서 다양한 세계도자문화를 수용하고 도자기 표현방법을 수용해서 미국만의 가장 창의적이고 독특한 도자 형식으로 표현하려고 노력합니다. 모든것을 수용하여 독창적인 방법으로 새롭게 창조해냅니다. (현대미술의 새로운 분야로)

지금 미국 : 현재 미국의 도예흐름은 다양성과 극대화된 신개념의 도자기들이 각광 받습다. 도자기 재료나 도자기 소성 등 도자기의 본질에 대해 연구하는 작가들이 다양하게 활동하고 있습니다. “이런 것도 도자기라고 말할 수 있는가?” 라고 생각할 정도의 파격적인 도전의 시도를 흥미진진 하게 시도하고 있습니다. 상상을 넘어서는 행위들이 작품으로 드러나고 있으며 이러한 것들을 장려하고 격려하는 것이 미국입니다. 도자기가 현대미술의 한 분야로 당당하게 발전하고 있다고 생각합니다.

问

韩国与美国的现代陶艺在表现上有什么不同之处？各自有什么特点？

What is the difference in expression between Korean and American modern ceramic art? What are their characteristics?

한국과 미국 현대도예의 표현적인 부분에서  그 차이를 어떻게 보시나요? 각각의 주요한 특징에 대해 설명 부탁드립니다.

答

韩国以前受美式现代陶艺的影响也很大。现在韩国陶艺家们并不认为美国式的现代陶艺像以前一样令人动容了。所以最近都在思考怎样以韩国方式体现韩国社会的焦点问题。我个人认为韩国的现代陶艺已经发展为现代美术的一个独立领域,成为构成东北亚(韩中日)陶艺领域中的一个中心。并且，现代陶瓷文化的扩张可能性比任何其他领域都大得多。

In the past, I was greatly influenced by American Modern Ceramic Art. Korean ceramists don't think American Modern Ceramic Art is as impressive as it used to be. So recently, we have been thinking about how to represent the focus of Korean society in a Korean way. Personally, I think Korean Modern Ceramic Art has developed into a field of Modern Art, and it became a part of the ceramic art of Northeast Asia (Korea, China and Japan). Moreover, the possibilities of expansion of ceramic culture are far greater than in any other field.

한국도 이전에는 미국식 현대도예에 영향을 많이 받았습니다. 지금 한국의 작가들은 미국식 현대도예를 예전 만큼 감동적으로 새롭다고 생각하지는 않습니다. 요즘 작가들은 한국 사회의 이슈를 한국식으로 표현하려고 노력합니다.한국의 현대 도예는 현대미술의 한 분야로 발전했고, 둥북아시아 (한중일) 도예를 구성하는 한 축이라고 생각합니다. 현대도자문화는 그 어떤 분야보다 확장가능성이 크다고생각 합니다.

问

您曾做过用传统陶瓷开发建筑材料的研究，您是怎样将传统陶瓷应用到现代建筑中的？能否向同行介绍您的研究成果？

You have done research about develop architecture ceramic materials with traditional ceramics. How do you apply traditional ceramics to modern architecture? Could you please introduce your research results to readers?

교수님께서는 도자기를 건축의 재료로써 연구 개발을 하신적이 있습니다. 현대 건축에서 전통 도자기를 재료로써 어떻게 활용할 수 있을까요? 다른 분야전문가들에게 교수님의 연구 성과를 소개해주실 수 있으십니까?

答

想陶瓷材料一样，不仅可以用于制作陶瓷作品，在生活用具、建筑材料和环境设施等多个领域都能灵活运用的材料种类并不是很常见。所以，个人认为这是种能充分扩大化各个艺术家作品表现力的优秀材料。

本人曾制创作过很多的陶瓷壁画。思考如何在建筑物中表现和应用陶瓷是拓宽陶瓷领域范围的方法。在这方面,个人认为,如果建筑陶瓷能把不同陶艺家的作品衔接起来,实现新的应用和开发,那么未来的展望是可期的。我现在正在努力给学生们提供在学校设置和展示建筑陶瓷作品的空间。但即使创作了建筑陶瓷作品本身,如果不参与安装该作品,那就没有亲自展示该作品,也就没有动力再接着创作新作品。本人正在努力为学生们创造一个适用建筑陶瓷的环境,并且正在创作符合其建筑空间的作品。学校也以了测试学生和学校建筑物空间的契合度正在持续努力着。

I have created many ceramic murals. Thinking about how to represent and apply ceramics in buildings is a way to broaden the scope of ceramics. In this regard, I think that if architectural ceramics can connect the works of different ceramists and realize new applications and development, then the prospect of the future is predictable. I am now working to provide space for students to set up and display architectural ceramics in school. But even if the architectural ceramics are created, if you don't participate in the installation of the work, then you don't have the work on display in person, and there is no incentive to go on to create new works. I am working hard to create an environment that suitable for display architectural ceramics for students, and I am creating works in accordance with their architectural space. My school is also making ongoing efforts to test how well students fit into the space of school buildings.

도자기 재료만큼 작품도자기 뿐만 아니라 생활용기, 건축자재, 모뉴멘트 환경조형도자까지 다양한 영역에 효과적으로 활용할수 있는 장르는 별로 없습니다. 그래서 각각의 작가들이 표현력을 확장할 수 있는 아주 가능성이 큰 재료라고 생각합니다.

본인은 도자기벽화를 많이 제작했었습니다. 건축물에서 도자기를 어떻게 표현하고 적용할 것인지 생각하는 것이 도자기 분야의 폭을 넓히는 방법이라고 생각합니다. 그런 면에서 건축 도자가 다양한 작가들의 작품에 접목이 되어 새로운 적용과 개발이 된다면 미래의 전망이 좋다고 생각합니다. 본인은 학교에서 학생들이 도자 작품들을 설치하고 보여 줄 수 있는 공간을 만들려고 노력하고 있습니다. 건축도자를 제작했어도 그 작품을 설치해주지 않으면 작품으로 드러낼 기회가 없고 작품을 제작할 동력을 받지 못합니다. 본인은 건축도자를 적용할 있는 환경을 만들려고 노력하고, 그 건축 공간에 맞는 작품을 만들고 있습니다. 이러한 노력을 학교에서 학생들과 학교 건물 공간에 시험적으로 설치를 지속적으로 진행하고 있습니다.

陶艺教育者

问

您在韩国传统文化大学主要向研究生教授哪些课程？

What courses do you mainly teach to graduate students in Korea Traditional Culture University?

교수님께서는 '한국전통문화대학교 대학원 과정' 중에 어떤 부분을 수업하시는지요?

答

本人认为,通过对传统文化的研究,以符合当前和未来需要的前提下进行重新再创造是非常重要的。传统文化需要从过去延续到现在,再从现在延续到未来,具有生命力的再创造就是必不可少的。因此我一直致力于教育学生能够很好地理解这部分内容,用自己独特的方法表达出来。

In my opinion, it is very important to reconstruct traditional culture on the premise of meeting the current and future needs. Traditional culture needs to continue from the past to the present and from the present to the future, and re-creation is indispensable. Therefore, I've been trying to teach students to understand it well and express it in their own way.

본인은 전통문화에 대한 연구를 통해서 현재에 필요하고 미래에 실현 가능한 모습으로 재창조하는 것이 중요하다고 생각합니다. 전통문화는 과거에서 현재로, 현재에서 미래로 이어지며 생명력있게 재창조되어야합니다. 이러한 부분들을 연구생들이 잘 이해하고 자신만의 방법으로 표현할 수 있도록 교육하려고 노력합니다.

问

您会如何实施理论与实践教学？

How do you teach your students about theory and practice?

교수님은 수업에서 이론과정과 실습과정을 어떻게 진행하십니까?

答

在大学学习美术专业的学生通过作品展现自己。而艺术家则要时刻思考作品的表现过程和结果对于参观者来说是怎样的感受。“理论和实践并行”，这也是我在教导学生们时一直所秉承的理念，不要只集中于理论,而是要能更好地与实践相结合。理论的作用在于在理解和表达现代与历史上的文化时，自己的想法能得以延续。要理解自身的本质,让研究生们通过实践来表现带有国际视野的作品。 

Students majoring in fine arts in university show themselves through their works. The artist should always think about how audiences see the process and the result of the works. "Theory and practice go parallelly," which is what I always teach my students, don't just focus on theory, but better integrate it with practice. The function of theory is to understand and express our times and culture, one's own ideas can be demonstrated. To understand the essence of oneself, let graduate students express their work through practice.

대학에서 미술을 공부하는 학생들은 작품을 통해 자신을 드러냅니다. 예술가는 작품을 표현의 과정, 결과가 관람자에게 어떻게 느껴지는 항상 고민해야 합니다.

이론과 실습을 병행 해야 합니다. 이론과 실습이 조화롭게 잘 연계될 수 있게 교육하려고 노력합니다. (이론을 배웠으면 사용할 수 있게) 이론은 시대와 문화를 이해하고 표현하는 자기만의 생각을 이어갈수 있게 현재와 역사, 문화, 철학을 교육시킨다. 자신의 정체성을 이해하고 실습을 통해 연구생들이 국제적 경쟁력을 갖는 작품으로 실현할 수 있게 해야합니다.

问

您作为美国阿尔弗雷德大学的客座教授，是否能跟我们分享下针对美国的陶艺教学和韩国的陶艺教学有何不同之处？

As a visiting professor of Alfred University, could you please share with us the differences between ceramic art teaching in America and Korea?

미국 알프레드 대학교의 초대교수로서 보시기에, 미국의 대학과 한국 대학의 도예 교육이 어떻게 이루어지고 어떤 차이가 있다고 생각하십니까

答

美国和韩国在陶瓷领域有许多不同之处。韩国有悠久的（陶瓷制造）历史背景,而美国则是新生国家,历史背景非常短。但美国也相对更具有解析能力，正努力反映和引导着这一时代的美术史和世界潮流。韩国虽然有传统技法可以作为参考,但如果不积极努力创新,反而会成为新表现出现的阻碍。美国和韩国，两者的教育方式进行融合后才是最好的。美国的陶艺教育方式非常系统化且存在合理性。在这种体系下，提供给陶艺家们可以最大化尽情创作反映自身心性作品的环境就变得尤为重要。

There are many differences between the United States and South Korea in ceramics. South Korea has a long history of ceramic art, whereas the US is a newborn country with a short ceramic art history. But the United States is reflecting and guiding the art history of this era and the world trend. Although South Korea has a long traditional technique for reference, if it does not strive for innovation, it will become an obstacle to the emergence of new expression. It’s better to combine educational method of the United States and South Korea. American ceramic art education is very systematic and reasonable. Under this system, it is particularly important to provide the environment in which ceramists can create works that reflect their inner nature.

미국과 한국의 도자기는 많은 차이점이 있습니다. 한국은 역사적인 배경이 있고, 미국은 신생국가라서 역사적인 배경이 짧습니다. 미국은 분석적이고 시대의 미술사나, 세계의 흐름을 반영하고 리드하려고 노력했습니다. 한국은 전통적인 방법이 있어서 참고 할 수 있지만, 오히려 적극 노력하지 않으면 새로운 표현을 만드는데 방해가 될 수 있습니다. 미국과 한국의 교육방식이 적절히 조화가 되어야 한다고 생각합니다. 미국의 교육방식은 체계적이고 합리적으로 진행된다고 생각합니다. 작가가 표현하고 싶은 것을 마음껏 표현하는 창의성을 극대화 시키는 환경이 중요합니다.

问

您的作品被英国的维多利亚阿尔伯特博物馆、美国的费城艺术博物馆等许多著名博物馆收藏，如何得到展示自己的机会，是否有经验可以分享给年轻一代？

Your works have been collected by Victoria and Albert Museum in England ,Philadelphia Museum of Art in America, how can younger generations get the opportunity to show themselves? Would you please share your experience?

교수님의 작품은 유수의 갤러리와 박물관에서 소장중인데, 이처럼 작품이 알려질 수 있는 계기나 기회에 관해서 젊은이들에게 조언해주실  말씀이 있으신가요?

答

结论是,陶艺家本身的特质必须是极其鲜明的,作品也需要是能够满足美术馆收藏需求的。本人的作品与其他陶艺家存在差异的地方在于，虽然 本人的作品虽然具有众多的韩国传统元素,而却是以偏现代感的样式呈现出来的，承载着与任何人都能产生共鸣的情绪。鄙人的拙作可以与西方人产生共鸣感，并且具有现代的表现力，但同时也带有传统韩国式的认同感。之于以上原因，我的作品才会得到个人收藏家或美术馆的青睐。

The conclusion is that the characteristics of ceramists must be extremely distinct, and art works also need to be able to meet the collection needs of museums. The difference between my works and those of other ceramists is that although my works have many traditional Korean elements, they are presented in modern way which is carrying emotions that can resonate with anyone. My works can resonate with westerners with modern expression, but they also have traditional Korean identity. For these reasons, my works are favored by individual collectors and galleries.

결론은, 작가의 정체성이 극명하고 미술관이 소장하고자 하는 욕구를 충족시킬 수 있는 작품이어야 합니다. 본인의 작품은 다른 작가들과 차이점이 있습니다. 본인 작품은 한국적인 요소를 가지고 있으나 너무 전통적이지 않고 현대의 모습으로 인간 누구나 공감할수 있는 정서를 담고 있습니다. 이러한 작업들이 서구사람들과도 공감할 수 있고 또 현대적인 표현력이지만 한국적인 정체성을 가지고 있기 때문에 한국을 대표하는 작품으로 개인 컬렉터와 미술관이 소장하고 있다고 생각합니다.

获得海外博物馆收藏的方法

10年左右在波士顿的画廊举办了专属个人展览，和各个美术馆的馆长自然而然地有了接触并对我的展览资料产生了兴趣。还应邀参加世界各地的国际研讨会和各种陶瓷训练营进行作品创作。通过这些活动对我的作品产生了浓厚的兴趣后，也成为了对本人作品的对外宣传活动，最总演变成了对于我个人作品的收藏。

随着对韩国陶瓷和文化产生兴趣，寻找韩国特色,有些博物馆也会提出想要收藏具有现代要素的本人作品。

喜欢本人作品的个人收藏家购买作品,收藏在家欣赏一段时间后,最后捐赠给美术馆。

Ways to acquire overseas museum collection:

1) In the past 10 years, I have held solo exhibitions in galleries in Boston. I got in touch with curators of various galleries and they were interested in my portfolio. I was also invited to participate in international seminars and various ceramic workshops around the world. Through these activities, people are interested in my works, it also became the external publicity activities for my works, and my works are collected eventually.

2) With Korean ceramic art and culture become more popular, in order to find Korean characteristics, some museums also want to collect my works with modern elements.

3) Collectors purchase my works and they will donate my works to art museums after a period of time

해외 박물관에서 소장되는 방법

1)보스턴에 있는 갤러리에 10년 정도 전속작가로 개인전을 해왔다, 자연스럽게 미술관 큐레이터 들이 전시자료를 접하고 저의 작품에 관심을 갖게 되었으며, 또한 세계각지의 국제 워크숖에 초대되어 작품을 제작하는 시연회를 가졌습니다. 이 과정을 통해서 저의 작품에 대한 이해와 관심이 생겼습니다. 그런 과정에서 본인에 대한 홍보가 대외적으로 많이 되었으며 결과적으로 작품소장으로 이어졌다고 생각합니다.

2)한국도자와 문화에 대한 관심이 생기면서 한국성을 찾고, 현대적 요소까지 갖고있는 본인의 작품을 소장하고자하는 박물관에서 요청한 경우, 국내외적으로 한국적인 정서와 일반적인 정서를 고루 갖고 있다고 생각합니다.

3) 본인의 작품을 좋아하는 개인 컬렉터가 작품을 구매해서 수집가가 집에서 일정기간 감상을 하 고, 나중에 미술관에 기증을 합니다.

IAC（国际陶艺学会）

韩国区代表的竞选宣言

问

您是IAC的会员，今年您被推荐成为IAC韩国区理事，能否谈谈您作为候选人参选的相关情况？

You are a member of IAC, and you were recommended to be the IAC Director of Korea this year. Could you please tell us about your candidacy?

올해 한국구 IAC 이사로 추천된 회원으로서  출마할 준비 상황에 대해 말씀해 주실 수 있습니까?

答

作为IAC韩国区代表的竞选宣言

我是IAC韩国代表参选人崔成在(Sung Jae Choi)。

从1999年开始的20多年间,作为IAC会员,我一直与国内,国外会员们之间保持着深厚的纽带关系,并积极开展各种活动。

I'm Sung Jae Choi, a candidate for IAC Korea.

As a member of IAC for more than 20 years, since 1999, I have maintained strong ties and activities with members both in Korea and other countries.

IAC 한국대표 출마자의 출마의 말씀.

저는 IAC 한국대표 출마자 최성재(崔成在 Sung Jae Choi)입니다.  

1999년부터 20여년 동안 IAC 회원으로 국내, 국외 회원들과 깊은 유대관계를 갖고 적극적인 활동을 해오고 있습니다. 

问

如果您竞选成功，将为IAC做哪些工作？

What would you do for IAC if you are elected as IAC Director of Korea? 

경선이 성공하면 한국구의  이사로서 IAC에 어떤 기여를 하시겠습니까?

答

作为IAC韩国代表参选者,目前参与的最直接计划是正在与IAC协商申办2024 IAC韩国总会。如果申办成功,将联合IAC和韩国陶瓷财团,发动IAC韩国会员的力量,发挥代表作用,促使大会取得圆满成功。

As the representative of IAC in Korea, the most recent project that I currently involved is negotiating with IAC to apply for 2024 IAC Korea General Association. If we apply it successful, it will unite IAC and Korea Ceramic Consortium to mobilize the IAC members in Korea and play a representative role to promote the success of the conference.

IAC 한국대표 출마자로서 현재 진행 중인 가장 직접적인 계획은,

- 2024 IAC 한국총회를 유치하고자 IAC와 협의 중에 있으며, 유치가 되면 성공적 개최를 위해 IAC와 한국도자재단, IAC 한국회원들의 힘을 모아 성공적인 총회가 되도록 대표자의 역할을 성실히 하겠습니다.

IAC现有73个国家、891名庞大会员,所有会员同时出席大会仍然很困难。因此，随着信息化时代的到来,由顶级会员组成的IAC应该扩大并激活成为一个可以通过国际网络进行信息交流的实质性的国际交流平台。

With 891 members in 73 countries, it remains difficulties for all IAC members to attend the congress at the same time. Therefore, with the advent of the information development, IAC should be expanded and activated to become a substantive international communication platform for information exchange through the international network.

- IAC는 현재 73개국 891명의 방대한 회원으로 모든회원들의 총회참석이 어렵습니다다. 정보화시대에 맞게 최고의 회원으로 구성된 IAC는 국제 네트워크와 정보교류을 통한 실질적인 국제 교류의 장으로 확대 활성화해야 합니다.

计划为韩国会员能积极参与IAC会员活动提供活跃的交流平台,通过积极透明的网络共享,构建理解IAC、进行国际交流活动的环境。

I would like to provide an active communication platform for Korean members to participate in IAC membership activities and build an environment for understanding IAC and conducting international communication activities through transparent network sharing.

- 한국 회원들의 적극적인 IAC 회원 활동을 위해 활성화된 교류의 장을 지원할 예정이며 적극적이고 투명한 네트워크 공유를 통해 IAC를 이해하고 국제교류 활동을 할 수 있는 환경을 구축하고자 합니다.

韩国会员因语言上的不便,大会参加率较低。当选后会在海外总会时提供韩语翻译,构建更加积极参与的环境。

Due to English language ability, the attendance rate of Korean members is still low. If I am elected, I will provide Korean translate for overseas congress, to build a more convenient environment.

- 한국회원들은 언어적 불편함으로 총회 참가율이 낮습니다. 해외 총회 시 한국어 통역을 제공하여 좀 더 적극적으로 참여할 수 있는 환경을 구축하겠습니다.

如果能成功成为IAC韩国代表,将遵守IAC的规定,正直、公正地反映会员的意愿,积极履行职务。

If I am elected as a representative of IAC in Korea, I will abide by the rules of IAC, reflect the wishes of members honestly and impartially as my duty.

-한국대표가 되면 IAC의 윤리규정을 준수하고 정직하고 공정하게 회원들의 뜻을 적극 반영하여 직무를 수행할 것 입니다. 

陶艺家的期待

我们发起了#陶艺家的期待 这个热门话题，希望由您来推荐一位艺术家作为我们下一位采访对象，陶瓷艺术的魅力在于我们对陶瓷烧制最终效果的期待，读者对您的推荐也十分期待！

We started # Expectations of Ceramists on social media, we sincerely hope you recommend us an artist as our next interviewer. The charming of ceramic is our expectation before kiln door’s opening, readers are also expected your recommendation.

이번  '도예가의 기대'라는 화제에 대해 이야기 하면서 교수님께서 다음 인터뷰 할 작가 한 분을 추천 해주시기를 부탁드립니다.

독자들 역시 교수님의 추천 작가에 대해 많은 기대를 하리라 생각됩니다.

如果可能的话，我为大家推荐两位韩国现代陶艺领域中最具有代表性的陶艺家申相浩和李秀钟作为下次的采访对象。

If I may, I would like to recommend Shin Sang-ho and Lee Soo-chung, two of the most representative ceramic artists in Modern Ceramics Art in South Korea, as the next interviewers

지금 한국 현대 도예분야에 가장 대표적인 신상호작가와 이수종작가를 같이 다음 인터뷰 할 작가  분으로 추천해 드리겠습니다.

采访团体与艺术家合影

CAC驻韩国记者站

为了更好地传承和发扬中华陶瓷艺术在国际上的影响力，同时也为国内陶瓷艺术工作者呈现更多更时尚更前沿的国际讯息，源于共同的传播和宣扬理念，2018年年底，CAC中华陶艺特在韩国建立驻外记者站。韩国记者站是由陈恩泽偕同一批怀揣艺术梦想的在韩留学生组建而成。主要团队成员为檀国大学陶艺专业在学硕博士。CAC希望通过对国外艺术家的专访以及对各种艺术活动的报道来加强中韩的艺术交流，同时更希望能为中韩与其它国家的艺术交流搭建沟通的桥梁。

目前韩国记者站在进行三个系列主题的采访报道：一、韩国学院派艺术家和大韩名匠系列。二、来韩的外国艺术家系列。三、在韩各种艺术交流活动系列。我们会陆续更新更多精彩内容，敬请关注!

如果您有相关的讯息可以提供给我们，可以给我们后台留言，也可以直接联系韩国记者站，TEL：[phone]（韩国）18679816897（中国，微信同号），Email:[e-mail]

In order to inherit and promote the international influence of Chinese ceramic art and bring more newest international artistic information for domestic ceramists, CAC, Chinese Ceramic Art magazine set up a foreign press station in South Korea at the end of 2018. The south Korean reporter station was formed by Chen Enze (Ben) and a group of students studying in South Korea with artistic dreams. The main team members are PhD candidates and postgraduate students majoring in ceramic art in Dankook University. CAC hopes to strengthen art exchanges between China and South Korea through exclusive interviews with foreign artists and reports on various art activities, and also hopes to build a bridge for art exchanges for China, South Korea with other countries.

At present, Korean reporter station are focusing on three series of interviews: 1, Series interviews of Korean academic artists and Korean Masters Craftsman. 2. Series interviews of foreign artists in Korea. 3. Various art activities in South Korea.  We will bring more news, please stay tuned with us.

If you have information resources to provide to us, you may leave a message to us on our  WeChat channel, or you may contact the Korea reporter station, TEL: [phone] (South Korea)  18679816897 (China, WeChat Account), Email:[e-mail]

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