Large sculptures can be a challenge for even the most experienced creators, but award-winning ceramic artist Wooji takes it all in her stride, finding the creative process therapeutic. We caught up with her to chat about art, inspiration and fashion.

What made you fall in love with ceramics?

I was initially indifferent to my ceramics major in college because the class taught traditional arts and crafts rather than the free expression of art. In my third year, my friends and I went to Jingdezhen [China's porcelain capital], where I realised ceramics can be fun and exciting.

My perception of time and space changes when I enter my creative state. I am very introverted and a deep thinker, so making ceramics helps me release my emotions. Last year, my grandfather passed away suddenly, and I was very close to him. When I was sad, I had a lot of thoughts about life, death and existence, so I made the ‘Connect’ piece. Its tunnel-like shape is like a medium that connects to another time and space, with our closest and most beloved people on the other side. The process soothed my emotions.

What makes you a leader in your field?

I don't consider myself to be the best in the industry. Instead, I often question if I'm doing well enough. Finding my own language of artistic expression, appreciating the people around me, and gaining recognition within the industry, such as being selected for exhibitions, have given me strength.

What is the biggest challenge you have experienced in your career, and how did you overcome it?

The biggest challenge is to find a balance between ideals and reality. The most common career for artists with my major is to enter an institution, but I wanted to create weird and strange things from my own imagination.

I moved to Shenzhen to work as a designer, and it was quite a struggle. So, I finally decided to do the abstract things I like. I returned to Jingdezhen, where the creative atmosphere is freer and more tolerant, and set up my personal studio to determine my career path.

Ceramic is such a fragile material. Does this make it challenging to work with?

From moulding to firing, there can always be problems. There have been times when I've wanted to give up in the middle, but I'm stubborn and just keep going. As the clay slowly takes shape in my hands, I become more determined, and I often get unexpected rewards.

Tell us a bit about where you work.

My studio used to be in the tourist area of Jingdezhen. It was crowded with people during holidays, which is not good for creators. I moved to a village and got closer to nature, and the tranquillity and isolation allowed me to focus on my creations. It's not far from the city, so sometimes I can get together with friends if I don't want to make something. This kind of semi-hermit status has helped me achieve a good balance between life and creation and has brought me a sense of inner stability and certainty.

What appeals to you about Johnstons of Elgin? Do you have a favourite piece from the shoot?

My favourite is the Cashmere Scarf. It's so light and soft that it feels great against the skin. The Cashmere naturally blends with your body and gives you a sense of ease and comfort. The simplicity of the design brings us back to the texture of the clothing itself.

What attracts me to Johnstons of Elgin is the craftsmanship and technological innovation the brand has been upholding for over two centuries. That will never go out of fashion.