Ara Koh

2021–2023

idkohara.wixsite.com/araangelakoh @araangelakoh

Biography

Ara Koh (b. Seoul, South Korea; lives and works in Washington, DC) received her BFA in Ceramics and Glass from Hongik University, Seoul, in 2018, and was an exchange student at California State University, Long Beach, in 2016. Koh graduated with an MFA in Ceramic Art at New York State College of Ceramics at Alfred University in 2020. Her works are installations claiming space across a variety of materials, particularly clay.

Koh’s work has been exhibited in numerous museums and galleries, including the Phillips Collection, Washington, DC; Archie Bray Foundation, Helena, MT; and Korea Culture Center, Washington, DC. Koh has received numerous awards, including the Minister of Foreign Affairs Honor by the Korean government. Her works have been collected by Alfred Ceramic Art Museum, Daekyo Culture Foundation, Winell Corporation in Korea, and many private collections.

Installation view of “Grounding; Grounded; Ground,” Hamiltonian Artists, October 28–December 2, 2023. Photo: Vivian Marie Doering

GRADIENT CURLS, 2023, terracotta, 14 1/4 × 10 × 10 inches. Photo: Vivian Marie Doering

Ara Koh, “Foot shades follow” (2023), foraged clay (pieces), overall: 35 × 143 3/4 inches, 324 parts: 3 1/8 × 3 1/8 inches each. Photo: Vivian Marie Doering

Ara Koh, “All shades of white” (2023), stoneware, 19 1/2 × 15 1/8 × 1 1/4 inches. Photo: Vivian Marie Doering

Ara Koh, “When the painting was done, she walked into the painting” (2023), kaolin on canvas, dimensions variable. Photo: Vivian Marie Doering

Ara Koh, “Core Samples” (2020), fired clay, overall: dimensions variable. Photo: Vivian Marie Doering

Ara Koh, “Holding Weight” (2021), earthenware, dimensions variable. Photo: Vivian Marie Doering

Artist statement

I speak Korean, English, and clay. My studio practice is a form of translation. Working with clay is a vehicle for memory, honesty, reflection. I translate the invisible and the amorphous into something visible and solid. A balance between polarities; light and heavy, dense and loose, ephemeral and concrete.

There is room for awe and even for childhood trauma, fading or reliving. My sculpture encapsulates the dialogue of internal memories and external landscapes. Making is reliving fading traumatic memory as a landscape painting.

Landscape made in clay links to geologic time and metamorphosis. Questioning how architecture and landscape hold humanity, I think about my body contained in the spaces, my body as a container, and the space contained in the larger body of humanity. Experiencing body and reasoning what that experience does is questioning self in relationship with space.

My work reclaims my position of authority, a space that is my own space. Physically imposing enough to envelop the viewer, intensity of the labor, repetitiveness, and palliative obsessiveness manifest as the understanding of the universe. It asks about my identity as an artist, a daughter, and a human most honestly and genuinely.