Defence - Brass Knuckle, 2005

Harin Lee

Porcelain

12.5 in H x 4 in x 5.75 in

Delicate, contemplative, and exquisitely crafted, this porcelain sculpture by Harin Lee captures a quiet moment of reflection. With an expressive gaze and graceful pose, the figure draws viewers into an intimate narrative, while Lee's remarkable attention to detail brings warmth and humanity to the work.

The pristine porcelain contrasts beautifully with the richly textured, metallic base, creating a compelling dialogue between softness and strength, refinement and resilience. Every carefully sculpted detail-from the subtle facial expression to the intricate textures below-demonstrates Lee's extraordinary technical skill and poetic approach to figurative ceramics.

Both elegant and emotionally resonant, this captivating sculpture is a timeless work of contemporary ceramic art that invites contemplation and rewards close viewing.

Artist Statement

Lee Harin explains that his work attempts to explore the subversive nature of desire particularly among those people who assume an ambiguous gender identity. It is not immediately apparent if the figures are male or female, Asian or Western. This blurring of distinctions is a purposeful commentary on the roles people assume in their interpersonal relationships. He also feels that his own ambiguity as an artist who has split his time between two cultures and split his creative efforts between different media has allowed him more sympathy with people who choose unorthodox paths.

Artist Biography

Following the correct path has always been hard for Lee Harin. Although he grew up in the sympathetic environment of a family of artists, he struggled with the restrictive art teaching in the Korean school system. His struggles culminated with his failure in the rigid art school entrance examination leaving him with a bruised ego and a determination to succeed by another path. He found this successful pathway at the State University of New York at New Paltz where he first encountered clay. Switching from his previous interest in painting he applied himself to mastering the techniques of throwing and hand building. Although he feels that his pottery is still subpar, he has obviously gained a mastery of the subtleties of expressing himself in sculpture. After spending two years at Alfred University and getting his MFA he returned to Korea to do his compulsory military service which he said was much easier than the intense period of work at Alfred.

His transPacific journeys resumed when he went to Philadelphia where he spent two years working at the Clay Studio. The body of work which resulted from his stay in Philadelphia was a distillation of his thoughts regarding the transgressive roles that people assume in their relations with others.

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