This determined spirit and untrammeled passion shines through in Kim's work. Images from nature boldly adorn his tea bowls, jars, and sculptures, as is clearly visible in this group of works.
How can we tell the difference between Japanese and Korean ceramics? What is it in Korean ceramics that is absent from Japanese wares? Pay close attention to the beautiful Korean Moon jars next time you visit the Victoria and Albert Museum, take a second look at the robust collections at the Metropolitan Museum of Art, or browse contemporary pieces at the San Francisco Asian Art Museum, and you might begin to get a feel for the distinctions between these two great ceramic cultures.
The Japanese-born artist Kim Hono faces some difficulties in Japan due to a history of discrimination against people of Korean descent in Japanese culture. When Kim graduated from high school, everyone including his teachers insisted that he must choose one of the few jobs deemed acceptable for Korean-Japanese people: construction worker, Pachinko shop owner, plumber, or taxi driver, etc. But Kim knew that he wanted to be a potter. Though he was underestimated for this idea, he remained firm in his desire to create and to express himself through working in clay. This determined spirit and untrammeled passion shines through in Kim's work. Images from nature boldly adorn his tea bowls, jars, and sculptures, as is clearly visible in this group of works.
The playful works of Kim Hono also seek to elevate craftsmanship to bring in elements of high art. His iron-brushwork on raw, unglazed surfaces evokes the styles of Joan Miro, Man Ray, and Wassily Kandinsky. He seeks to bring out the beauty in daily wares and life: a Mingei spirit inherent to many contemporary potters in Japan today.