Woman Travels to Korea for 20-Day Pottery Course, But 3 Months Later, She Still Hasn’t Come Home (Exclusive)

**Sophie Chai’s Transformative Journey in Icheon: From Pottery Novice to a Seasoned Artist**

Sophie Chai, a 32-year-old ceramic artist, recently embarked on a transformative journey in Icheon, South Korea, where she studied under renowned master potter Lee Hyang-gu. Originally scheduled to spend just 20 days honing her craft, the experience captivated her to such an extent that she extended her stay to almost three months, ultimately logging around 410 hours at the pottery wheel.

Chai describes her initial arrival in Icheon with the intent of improving her throwing skills. However, within her first week, she realised that the time allocated was far from sufficient. “I didn’t expect to fall in love with the process quite so deeply,” she recounted, acknowledging the multitude of habits she needed to shed in order to adopt more efficient techniques.

Prior to her time in Icheon, Chai had already made significant strides in her ceramics journey. Earlier this year, she spent approximately two months in Bizen, Japan, working alongside ceramic artist Kazuya Ishida and immersing herself in the art of traditional Japanese wood firing. This foundation set the stage for her next adventure in Korea, where she hoped to further refine her pottery skills.

Upon arriving in Icheon, Chai quickly became enamoured with the work of Lee Hyang-gu, a master potter celebrated for creating large moon jars in a single piece. Despite her initial plans, Chai chose to extend her course, drawn not just by the craft but also by the deep connections she formed with Lee and his family, as well as the broader community.

In her reflections shared on social media, Chai celebrated her growth throughout the nearly three-month experience, stating, “What I can say is that I’m incredibly grateful. This experience will stay with me forever.” She expressed her appreciation for the kindness and positivity she encountered, especially following challenging periods in her life, highlighting the need for healing through creative pursuits.

During her intensive training, Chai worked primarily on the moon jar, a form that demanded attention to proportion, movement, and balance. Lee’s teaching philosophy emphasised mastery of a single form before branching out to explore other techniques. This approach, Chai reflected, not only sharpened her physical skills but also induced a profound mental focus and discipline that had previously been lacking in her life.

Communication with Lee posed its own challenges, as Chai had limited proficiency in Korean, while Lee’s command of English was similarly restricted. Nevertheless, they found a rhythm through the use of translators, apps, and their shared sense of humour, which often lightened the atmosphere during lessons. Chai noted that despite the intensity of the training, she never felt discouraged, thanks to Lee’s supportive yet serious approach.

The impact of her time in Icheon was multifaceted. Chai found a renewed appreciation for the technical aspects of pottery, acknowledging Lee’s decades of expertise as a significant part of her own development. She left Korea with not only improved skills but with a sense of resilience born from the demanding nature of her training.

With over 70 days spent at the wheel, Chai’s initial objective of enhancing her throwing techniques evolved into a deeper exploration of her creative potential. “At some point, it stopped feeling like a pottery course and became a much bigger chapter of my life,” she remarked, encapsulating her transformation.

As she continues to create pottery inspired by her experiences, Chai remains dedicated to her craft, using the moon jar as both a technical exercise and a vehicle for continued growth. Learning from Lee and immersing herself in the rich traditions of Korean and Japanese ceramics, Chai’s journey illustrates the profound impact that dedicated mentorship and passionate pursuit can have on an artist’s life.