Sam Chung is a ceramic artist and educator who creates pottery that reframes historical ceramics from a contemporary, cross-cultural perspective. His work bridges the fields of art, craft and design. He has exhibited his work nationally and internationally at Harvey Meadows Gallery (now Harvey Preston Gallery), Duane Reed Gallery, Gallery IMA, Ann Linnemann Gallery (Denmark), ClayAKAR, Greenwich House Pottery, Sherry Leedy Contemporary and Lacoste
Gallery. Sam’s work is included in the collections of The Crocker Art Museum (CA), Icheon World Ceramic Center (Korea), Guldagergaard (Denmark) and San Angelo Museum (TX). He lives and works in Tempe, Arizona where he is currently Professor of Art at Arizona State University.
Greenwich House Pottery-Jane Hartsook Gallery, Gallery I|M|A, Lawrence Arts Center, AKAR, Plinth Gallery, Lacoste Gallery.
Harvey Meadows Gallery, Tansey Contemporary, The Clay Studio, Lillstreet Art Center, Gallery I|M|A, Cross Mackenzie Gallery, Red Lodge Clay Center, Dubuque Museum of Fine Art, Sherry Leedy Contemporary, Santa Fe Clay, Taipei County Yingge Museum and Icheon World Ceramic Center. His work is in the collections of the Crocker Art Museum, Icheon World Ceramic Center (Korea), Guldagergaard (Denmark), Shepparton Art Gallery (Australia), University of Arkansas, Arizona State University Art Museum, etc.
Anderson Ranch Arts Center, Watershed Center for the Ceramic Arts, The Archie Bray Foundation for the Ceramic Arts, Guldagergaard International Ceramic Research Center (Denmark), The International Ceramics Studio (Hungary),
and The Pottery Workshop (China).
Photo by Adam Field
“A consistent point of departure for my work has been the ceramic vessel and playing with the balance between form, function and design. I am interested in the way that pots have the unique ability to serve a multitude of roles and functions. They can exhibit decorative beauty, bring attention to more functional/tactile concerns, and also create historical, cultural and experiential associations. I work within the context of pottery to exploit its universal familiarity and impose my own vision for merging historically and culturally disparate influences. I am curious about the relationships I see among various forms of creative expression from both past and present, and try to bring forth a new language of pottery for the future.”