"Our new mantra. Good art is not an accident. Nor is a clean studio. Love thy tools." In 2000, Nam was awarded the University's Tanner Award for Excellence in Undergraduate Teaching.
From each bowl he makes, Nam ceremoniously drinks Matcha, a green tea.
Nam has made hundreds of bowls in his experiments with North Carolina clay.
Clay-making materials are abundant in North Carolina towns such as Kings Mountain and Hillsborough.
Nam says the process of creating his own clay is a long one, but well worth it.
Professor Yun Nam has been teaching at Carolina since 1995. “Using clay from North Carolina, that is bonding for me. And it’s important that I show my students how to work with it.”
As he experiments with the tea bowls, Nam continues his extensive reading and research on the topic.
Connecting to North Carolina’s clay
In art professor Yun Nam’s studio, ceramic tea bowls stack on every surface. In the throwing room, bowls crowd the shelves. Outside amid toasty kilns, bowls sit on ware carts, nested into tiny towers.
These bowls aren’t discards of art gone wrong. Each pot is a part of Nam’s journey.
For years, Nam purchased his clay from commercial dealers. He never considered the origin of the clay, only the finished product. But a lifetime of producing work solely for the visual result had left the acclaimed Korean-born ceramist feeling disconnected with the nature of his process.
“I didn’t know everything. As artists, we look for the visual. How big is a piece, how well is it glazed? I decided to look beyond the visual and tangible, connect the past, present and future of the material.”
He stopped working and started studying. He learned of a long-held tradition of using mica clay, some of which could be found in Kings Mountain, N.C. Pyrophyllite minerals could be found in the soil of nearby Hillsborough, N.C. He would use materials from both cities to make his own clays and bring them to his teaching. Other local clays could be purchased from the clay factory at STARworks Studio in Star, N.C.
“Using clay from North Carolina, that is bonding for me. And it’s important that I show my students how to work with it.”
His research provided the clay with which his students would craft. A connection to the state where he’d taught for 15 years and raised his children was providing the inspiration he needed to create again.
“What do I need to teach? How to make a good handle or candleholders? Yes,” he says. “But I also like them to learn a beautiful lesson through the clay, to think beyond visible and establish a connection to the environment that is part of their history.”
Nam palms a piece of his work in each hand. In one bowl dynamic splotches emerge in a pattern found most often in a Petri-dish. On another bowl, the color is more flat, beige. “Some focus on how well something is made, but what is the definition of ‘how well?” A good pot is about good materials, and honest process and where it’s made. In searching for the invisible, I see so much more.”
So far, he’s made hundreds of tea bowls, experimenting with heat, glaze and composition, balancing and neutralizing elements to bring different visual effects. From each finished work, he drinks a cup of Matcha, a bright-green tea. “People wonder why I am throwing so many bowls and testing so many glazes, but it is a wonderful journey about finding,” he says.