Annotations cc: Hyeyoung Cho

Hyeyoung Cho, curator and advocate of craft, interprets centuries of tradition and contemporary practice into exhibitions of enduring relevance. Shaped by a transnational upbringing across Asia, the Middle East, and UK, her perspective allows her to frame Korean craft as a living heritage, and an adaptive practice, shaped by history and innovation. Through the tactile narratives of materials and the stories embedded in objects, she positions craft as a global language, distinctly intimate, inventive, and intellectually engaging.



Anoe: Considering your background as an artist and your development as a curator working across international contexts, from Salone del Mobile to the Victoria and Albert Museum and the Loewe Craft Prize, how has your understanding of craft evolved over time?

Hyeyoung: I have an unusual background. I am Korean, but I left Korea when I was five years old and grew up across Kuwait, Lebanon, Saudi Arabia, and the UK. I’ve traveled extensively. I am actually a ceramics major, and I studied in the UK. I returned to Korea in 1991, with the intention to evolve as an artist. Recognizing the importance of networks within the local context, I chose to continue into graduate school as a way of building connections. Korea then was undergoing rapid expansion and internationalization. My fluency in English allowed me to take on a range of roles, often beyond what might have been expected. Around that time, the university was invited to organize a touring exhibition in the United States— From the Fire, a survey of contemporary Korean ceramics—and I became involved as an assistant curator. The exhibition traveled to thirteen museums across the United States and brought together the work of fifty-four artists. Through that I transitioned into curatorial practice. I found myself working alongside many of the leading figures of what could be described as a renaissance moment in contemporary ceramics.

A: Curating involves constructing a narrative that makes processes and intentions legible. It is shaping the conditions through which a work can be encountered and understood. What is your curatorial signature?

H: I believe curators, like artists, have a signature. For me, it is rooted in education. I don’t assume that the public understands art automatically. I put a lot of effort into research so that the final presentation feels clear and accessible. Craft is especially challenging to exhibit because it is tactile and sensory. I structure exhibitions to guide understanding; starting with raw materials, then tools, and finally the artwork. I often include media elements like videos or interviews to provide context. This way, the audience can fully appreciate the work.

BSP Series, Recycled Plastic, by Atelier Sohh. Exhibited at “Illuminated: A Spotlight on Korean Design” curated by Hyeyoung Cho, during Design Miami. 

A: There is an embodied understanding of the material, that has informed the way you curate and present craft. May I ask what was it that initially attracted you to ceramics?

H: I was drawn to three-dimensional work. I loved the tactile quality of clay, and how it could be shaped freely. It suited my personality. I would often visit museums—especially places like the Victoria and Albert Museum—returning again and again to look closely at the works on display. Seeing these objects in person, understanding their presence and materiality, was incredibly formative for me. I often worked with coil techniques, creating thin, organic forms inspired by shells. As I grew up near the sea—Hong Kong, the Persian Gulf, the Red Sea, natural forms deeply influenced my work.

Artistic Stratum, Layered Ceramics, by Jongjin Park. Finalist of Loewe Craft Prize 2026; exhibited at “Illuminated: A Spotlight on Korean Design” curated by Hyeyoung Cho, during Design Miami.
 

A: Craft is deeply tied to proximity and geography, memory and tradition. Yet you’ve lived across many and perhaps opposing or at core different cultures. How has that abundance  shaped your perspective?

H: For me, the connection between craft, memory, and place became very tangible. During my studies I immersed myself in traditional techniques, both physically and aesthetically, and in doing so, I experienced a direct link to the centuries of practice that preceded me. I came to realize just how profound the roots of Korean ceramics are. The tradition goes back thousands of years. Historically, only China and Korea were able to fire ceramics at very high temperatures, up to 1300°C, which allowed for the development of porcelain and celadon. Japan adopted this later.

A: To work across contexts also means negotiating how a culture is perceived. Have you felt a sense of responsibility in exploring and presenting Korean craft?

H: Very much so. When I came to Korea in 1991, the country was still shaped by its history, including Japanese occupation. That period remains sensitive and not widely discussed. Having lived in diverse cultural contexts, I initially experienced Korea as relatively homogeneous. I sensed a certain tendency toward self-critique in relation to cultural identity, which led me to wonder how this might be shaped by historical experience. In response, I found myself drawn to a different approach. I have worked to support the international visibility of Korean craft over the past two decades. I focused on what is valuable in Korean culture and how to present it authentically to the world. Without embellishment, but with clarity. The response abroad was consistently encouraging.

A Soft Landscape, Hanji paper and flour paste, by Jungin Lee, Finalist of Loewe Craft Prize 2024; exhibited at “Illuminated: A Spotlight on Korean Design” curated by Hyeyoung Cho, during Design Miami.  

A: Today, Korean designers are widely respected. How does it feel to see this transformation?

H: It’s very exciting and rewarding. Korea is a highly competitive environment, and we rely heavily on ideas rather than resources. Innovation is essential for survival. We often work under intense time constraints, especially on government-funded projects. I believe one of Korea’s particular strengths lies in its capacity to adapt. Having navigated numerous historical challenges, there is a certain responsiveness to change that continues to shape contemporary culture.

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Text: Anoe Melliou
Images: Courtesy of the Artists Dong Hoon Sohn, Jongjin Park, Jungin Lee.