Emily Yong Beck (b. 1999) is an interdisciplinary ceramic artist who received her BFA from the School of the Art Institute in 2021. Currently based in Chicago, her works are largely inspired by significant cultural pieces of craft and cartoon. The appropriation of certain motifs are an attempt to create a dialogue about forgotten histories and propaganda.
In the last two years, Emily’s artwork has been featured through White Column’s Curated Artist Registry (NY), Nada Art Fair (NY), and Untitled Art Fair (Miami). Her work is being actively collected and she exhibits with The Nevica Project (Chicago), The Pit (Los Angeles), Lefebvre et Fils (Paris), New Image Art (Los Angeles), Gaa Gallery (Provincetown and Germany). She rcently had a solo exhibition in Germany with Gaa Gallery and participating as a resident artist in France with Galerie Lefebvre & Fils (2023). Emily was also recently featured at The Pit gallery (2023)- “FriendsWithYou | Koichi Sato | Emily Yong Beck”.
Emily has worked at Kavi Gupta Gallery (Chicago) and co-runs the exhibition space entitled The Latent Space (Chicago).
Artist Statement
”My work focuses on the examination of histories within ceramics, my own ancestral histories, and how craft can be weaponized because of these histories. I use clay to criticize ways in which countries have hidden or obscured their violence through art. I work mainly in ceramics to explore how inviting imagery can encourage the perpetuation of systemic injustices and generational silences. I often look at historical French porcelain pieces, specifically from the Sevres factory, which utilize dreamy and oftentimes cute themes. These opulent works affirm colonization by assisting the idea of superiority and pureness through the color white, while also supporting the erasure of their historical racism and violence. Because of my Korean lineage, I also look to Japan’s successful “cute washing” with Kawaii culture as a way to further obscure their imperialism and crimes in most of Asia. Living in America is only confirmation for me that these stories have been successfully suppressed and denied by the Japanese government. Because of this, I appropriate popular Japanese anime characters and place them with techniques inspired by traditional Korean pottery. Through my desire for exploration and education I am able to find new connections. These discoveries make me feel an urgency to create ceramics and make works that acknowledge the history of the material. It is important to me that I attempt to bring light to historical erasure due to imagery perceived as harmless. Although my work is very specific, I want it to encourage others to apply the same critique of all imagery we are encouraged to consume.”
“The use of cartoons in this current body of work is driven by an investigation of propaganda through familiarity and cuteness. Cartoons are able to convey messages to viewers in a quick, simple, and fun way which makes the use of cartoons effective in rapid distribution of national propaganda. For example, during Walt Disney’s earlier years of production, many movies that were being made resulted in bankruptcy. As a result, Disney accepted a deal with the US Government. This deal would contract Disney to make 32 films which would be filled with American propaganda. Popular characters like Mickey Mouse can be a beloved American icon but also seen as a symbol for American imperialism as depicted by 1934 short film “Evil Mickey Mouse Attacks Japan”. In a similar matter, the successful “cute washing” of Japan through kawaii culture deeply benefited Japan by distracting the global eye from their war crimes throughout Asia. The Rising Sun flag is often seen as a painful symbol of Japanese militarism and imperialism, but when paired with cute and famous characters like Hello Kitty there is an association to innocence and softness encouraging violent histories to become overshadowed and forgotten.”- Emily Yong Beck
Emily Yong Beck
clay, glaze, googly eyes, rhinestones
10 x 12 x 8”
2022
signed by artist