Potters devote all their energies to their ceramic works and they are patient, waiting a long time until their works come out of the oven. However, they don't hesitate to break their works when they think the ceramic works are not perfect of match their expectation. They believe that making ceramic works is the process they are going through to train their behaviors and minds, and a flaw on their works means their minds were distracted when they made the ceramics. This belief among them has not changed at all and the only thing which was changed is the design or style of the ceramics. The ceramics are getting simpler and showing a variety of colors with the passage of time. Potter Kang Hye Kyeong's works represent both the present and the past. We can feel the plainness of her works and appreciate her sensitivity from the petals she described. Her works have not only a Korean atmosphere, but also an exotic mood. Thanks to her ceramic wild flowers, we now get the chance to a think about small things we haven't been interested in.

The Islander : What is the motif of your work?
 As you can see from the works I made in this studio, I mostly make flowers. I think wild flowers in Jeju are not eye-catching at the first sight, but draw my attention. I try to blooms wild flowers of Jeju in my work. Oreums of Jeju are also a my favorite theme for my ceramic works. I love to represent the children's world in my work also such as children who are horseback riding, children with their chins on their folded hands, children standing by a pony, and so on. It reminds me of my good old days. Those three things are what I mostly make.

The Islander : Is there any peculiar reason for you to use clay ?
 I'd like to say that it is hard to divide the modern ceramic art into two fields or 'ceramic' and 'carving and modeling'. On the other hand, plastic artists are finding their ways into the wide selection of materials. Someone said like this: 'I started my career with ceramic and started to use clay.' However, the art work that crosses the two fields in terms of the form, but sends us some message allow me to think two ideas which go in opposite directions. I positively assume that trend could be  interpreted as an expansion of ceramic art, but I also cast a question of if those artists are using materials effectively. I'm sure that clay as a material enables me to express very detailed and sophisticated things like tiny flower petals. It is impossible to make petals which are comparable to clay petals out of metal or wood. I can manipulate clay as finely as possible with my finger tips, but metal or wood are too hard for me to do craft. I have to understand clay's characteristics which are softness, transformability, and viscosity. I don't doubt that I try to take advantage of clay's natural texture that no other materials have and to succeed in attracting my audience by the friendliness of my works, which results from clay's naturalness. Clay is a suitable and effective material for me.

The Isladner :  What is the trend of contemporary art ?
 Modern artists incline to implicate many complicated meanings in their art works regardless of their genres. That is natural phenomena because art reflects changeable society of the times, a wide variety of lifestyles and complex thoughts. In this regard, my suggestion is that we had better be simple and straightforward. Why don't we stop thinking seriously for a while and visit a gallery. You might want to feel the art works there in just the way, and then smile again forgetting all complicated things.

The Islander : What do you think are good things about the design relating to Jeju and need to be improved ?
 I'm not a design specialist, but I'm sure to say this, Jeju has high potential. Jeju has a marvelous natural environment and its culture is also rich and beautiful. However environmental beauty and rich culture no longer guarantee Jeju islanders' endless good lives in modern society. Complicated roads, unharmonious buildings, and signboards in disorder along the roads must be changed for the better. The current image of Jeju is, so to speak, just like the five-day market which stands in the center of the metropolitan area. You will see guardrails made out of cold-touch steel and red, yellow and blue panorama graphics on the road leading to Jun Mun Tourism Complex. They don't look great at all, along with the greenish Oreums, and grand pastures on both sides of the road. Moreover, some bus stop signs are made out of natural whinstones and the latest bus stop signs are made out of orange and green colored modern materials. What a funny contrast it is! These trivial things serve to decrease the number of foreign and Korean tourists. First, I want to change the colors of design rather that design itself. I think blue is the worst choice for Jeju. We cannot designate blue as a symbol color just because the island is surrounded by ocean. Blue is foolish idea. The color of Jeju shouldn't be one. Jeju might be represented by many various colors which include thatched roof color, Oreum color, and flower color. Nature is itself the color of Jeju. Today, Jeju needs faces changes in many ways since it is named as a Free International City. The Jeju Government made many catch phrases such as 'Dream Island', and 'Peace Island' to bring to mind the speciality of Jeju, but they failed to have islanders feel the necessity to speed up the changes. Jeju Islanders are unfamiliar with design. Jeju's new symbol mark and logo is the design power of Jeju's image. We have to perceive the importance of design and study other countries' cases to be a unique Northeast Asian Free International City, different from Singapore and Hong Kong. We cannot be satisfied with a new symbol and logo. We have to develop perfect and systematic blueprints for all designs of Jeju such as systematized traffic information signs and street equipage. Otherwise we will all see separate and distractive images for Jeju. Through thorough design policy, Jeju will project the image of Dream Island and Peace Island towards the rest of world.