编者按：

由百陶会陶瓷教育中心主导的“转动的中心”工作营，汇聚国际陶艺大师首聚景德镇，破除跨文化壁垒，促进陶艺技艺、思想与资源联动，完善本地陶瓷教育生态。

携手三宝蓬美术馆联合筛选优秀作品，推出“蓬客景漂计划2025年度特展——转动的中心：从世界到景德镇”，以“创作-展示-传播”闭环惠及大众，是景德镇陶瓷文化“走出去、引进来”的实践。诚邀莅临三宝蓬美术馆，共赴这场跨国陶瓷艺术对话。

兼具韩国文化基因、加拿大多元视野，手握 20 年陶艺创作积淀与 32 万全球粉丝，Kumpon Unha Hill 早已超越单纯的创作者身份。她以跨文化陶艺教育者的自觉，让陶瓷成为连接不同地域、不同受众的媒介，既用扎实工艺打动专业群体，也以亲和表达走进大众视野，构建起独特的 “艺术 + 教育 + 传播” 创作生态。

Endowed with Korean cultural genes and Canadian multicultural perspectives, boasting 20 years of ceramic creation experience and 320,000 global fans, Kumpon Unha Hill has long transcended the mere identity of a creator. With the awareness of a cross-cultural ceramic educator, she has turned ceramics into a medium connecting different regions and audiences—impressing professional groups with solid craftsmanship and approaching the public with approachable expression, thus constructing a unique creative ecosystem of "art + education + communication."

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访谈×Kumpon Unha Hill

三宝蓬美术馆：请简要描述你的艺术风格的起源和特点以及在陶艺方面的心得体会。

Please briefly describe the origin and characteristics of your artistic style, as well as your insights and experiences in the field of pottery.

Kumpon Unha Hill：在韩国的童年时期起，我就深受自然之美的启发。这种早期建立的联系引领我接触到陶瓷艺术，二十多年来，我逐渐形成了一种将亚洲传统技法与西方形式及影响相融合的风格。

在过去十年里，我有幸师从五位韩国大师 —— 崔仁奎（Choi In - Gyu）、金世容（Kim Se - Yong）、金成泰（Kim Seong Tae）、李 oyang - Koo 等利川的陶艺家。他们的指导塑造了我对造型、质地和表面处理的方式。在他们的引领下，我的作品不断追求更精致、复杂的表达，尤其是在雕刻和模印技法方面。

自 2015 年起，出于对文化交流的热情，我创立并主导了一个项目，带领北美陶艺家前往韩国和中国。这些沉浸式工作坊让参与者能够直接体验和学习传统陶瓷工艺，通过手工艺搭建起文化交流的桥梁。

自然依旧是我创作的核心。近来，我开始将更多自然且具象征意义的元素 —— 比如雕刻的仙鹤和塑型的乌龟 —— 融入大型拉坯容器中。这些图案既致敬了自然世界，也体现了植根于韩国传统的深刻象征意义。

我的作品是传统与创新之间持续的对话，反映了我作为艺术家的来处与去向。

Since my childhood in South Korea, I have been deeply inspired by the beauty of nature. This early-established connection led me to ceramic art, and over more than two decades, I have gradually developed a style that blends Asian traditional techniques with Western forms and influences.

Over the past ten years, I have been fortunate to study under five South Korean masters — including Icheon-based ceramic artists Choi In-Gyu, Kim Se-Yong, Kim Seong-Tae, and Lee Oyang-Koo. Their guidance has shaped my approach to form, texture, and surface treatment. Under their mentorship, my works have constantly strived for more refined and intricate expressions, particularly in carving and molding techniques.

Since 2015, driven by a passion for cultural exchange, I have founded and led a project that brings North American ceramic artists to South Korea and China. These immersive workshops allow participants to directly experience and learn traditional ceramic craftsmanship, building bridges for cultural communication through handcraft.

Nature remains the core of my creation. Recently, I have begun integrating more natural and symbolic elements — such as carved cranes and sculpted turtles — into large-scale wheel-thrown vessels. These motifs not only pay homage to the natural world but also embody profound symbolic meanings rooted in South Korean tradition.

My works represent an ongoing dialogue between tradition and innovation, reflecting where I come from and where I am heading as an artist.

Kumpon Unha Hill 的ins账号

Kumpon Unha Hill老师作品展示

三宝蓬美术馆：通过本次景德镇工作营你对景德镇的陶瓷传统文化有什么新的理解？

What new understanding of Jingdezhen's traditional ceramic culture has you gained through this Jingdezhen workshop?

Kumpon Unha Hill：自从在韩国的童年时期，我就深受自然之美的启发。这种早期的联系引领我走向陶瓷艺术，20多年来，我发展出融合亚洲传统技法与西方形式和影响的风格。

"Since childhood in South Korea, I've been deeply inspired by the beauty of nature. That early connection led me to ceramics, and for over 20 years, I've developed a style that blends traditional Asian techniques with Western forms and influences."

三宝蓬美术馆：你为何参与本次景德镇工作营？

Why did you participate in this Jingdezhen workshop?

Kumpon Unha Hill：学习新的中国教学方式；结识新陶艺家；为未来创作获取灵感。

"Learning new Chinese teaching; Meeting new potters; Inspiration for future works."