With vessels that drip, droop, and delight, Emily Yong Beck is redefining what “cute” can mean. The Chicago-based ceramicist blends cartoon aesthetics with cultural critique, layering kawaii influences over traditional Korean forms to uncover the complicated histories embedded in everyday objects. In this conversation, Emily dives into the inspiration behind her gloopy ceramics, her love of niche cartoons and reality TV, and why imperfection is where the real story begins.
What first drew you to ceramics, and how did your fascination with kawaii culture evolve into a way to explore nostalgia, cultural critique, and the hidden complexities beneath “cute” aesthetics?
I’ve always loved ceramics, most people interact with a piece of ceramic every day. Additionally, I’ve always loved the idea that ceramics are older than even farming, and that basically every culture has a tie to clay. My fascination with kawaii culture has really always been there. As a kid, it was a lot of the media I couldn’t help but consume. Then, as I got older and learned about the relationship between Japan and Korea, I started diving further in to investigate my own connection to these histories and it really fueled my art practice.
Your ceramics embrace imperfection in a way that challenges the polished aesthetics of mass production. What attracts you to the ‘gloopy’ and organic over the pristine?
Other than loving the aesthetic of sloppy craft, conceptually I’m not trying to reproduce any particular character I’m putting on my pot. The shape of the vessels is most often inspired by traditional Korean pots, while the characters reference my own relationship with Japan and its media. This relationship is confusing and weird – the messed-up familiar faces I hope indicate to the viewer that there is something more happening. I feel as though if I were reproducing characters exactly, the viewer would be less likely to question what was going on or have a reaction.
When you hit a creative rut, where do you go for inspiration physically, mentally, or digitally?
Hitting a creative rut is definitely a challenge I face, it’s easy to get burnt out. To get back to work, I really dive into research. That includes looking for niche cartoons I’ve never heard of, rewatching childhood favorites, old posters for TV shows and video games, etc.
Do you prefer silence or music while creating? And if music, what are your most-listened-to tracks right now?
I definitely never prefer silence. If I’m listening to music, I’m usually listening to either 80s/90s alternative rock or soul and funk. But in the studio, I actually watch so much reality TV it’s embarrassing, particularly The Real Housewives franchises.
If you could throw a dinner party with three fictional or historical figures (real or animated), who would you invite?
Indiana Jones, Elvis, and Johnny Cash.
And finally, what’s next for you? Are there any upcoming projects, exhibitions, or new directions in your work that you’re excited to explore?
My current exhibition is up at The Pit LA, it’s a solo show called Victory Food that I’m super excited about. Other than that, I’ve got a few other things in the works that I’ll definitely be excited to share as they come closer to happening. I’m hoping to continue experimenting and expanding how I make my work as well.
You can keep up to date on what Emily does next by following her Instagram account @emilyyongbeck
