Ha Sa-An’s artistic practice begins with a critical deconstruction of traditional ceramic materials and an experimental reconstruction of their properties within the language of painting. By reinterpreting clay ‘often considered a secondary component in ceramic craft’ as a fired mineral material, she forges a unique sculptural approach that bridges materiality and emotion, tradition and contemporaneity, tactility and visuality.

This specific material functions not merely as a medium, but as a conceptual and symbolic agent that interacts with the entire aesthetic system of her work. After long research and reflection, the artist coined the term “Fired Mineral Material” to define this substance. It represents not just the physical properties of the material, but also the philosophical core of her artistic worldview and language.

Ha Sa-An’s works move beyond visual representation to embrace the haptic experience. The material carries physical density, surface tension, heat, and even vibrational energy qualities that invite the viewer into a perceptual encounter that transcends the act of seeing. Through this expanded sensory language, her artworks resonate deeply and intuitively with the audience.

Her material centered approach aligns with major tendencies in contemporary art history, such as Yves Klein’s chromatic philosophy and Anselm Kiefer’s investigations into the expressive power of material. Like these artists, Ha Sa-An elevates her chosen medium into a conceptual framework, dissolving the boundaries between traditional categories and initiating a new syntax for visual experience.

By establishing fired mineral material as a core element of her practice, Ha Sa-An opens a new field of possibility that crosses painting, ceramics, installation, and performance. Her work positions her as a researcher of form and emotion, inviting audiences into a tactile and reflective space of shared presence.