Time has flown by, and I am deeply honoured and grateful to once again present my new works at The New Craftsman Gallery in St Ives. Reflecting on the past two years, my artistic journey has been a continuous struggle to evolve and refine my practice. I have spent much time enduring and contemplating, seeking to push my work forward. By reducing my participation in group exhibitions and fairs, I dedicated more time to my creations, allowing myself to explore and refine the forms I truly aspire to achieve. While there were both rewarding moments and challenges, the experience was invaluable. However, I realised that some things take time, and rather than rushing, I have decided to move forward at a steady pace, maintaining direction while allowing room to breathe.
In Geometry and Perception, I incorporate geometric elements into ceramic surfaces to create optical effects and introduce geometric forms into my work. This exhibition explores how these elements influence our perception through both form and surface.
The first series I wish to introduce is OPject-Superposition Series, my latest work designed to be wall-mounted. This series investigates the visual effects that emerge when overlapping discs are designed with concentric bands in different tones and colours. The centers of the three discs are aligned in an invisible triangular formation, while the patterns balance intensity and softness. The ridged surfaces interact dynamically with light, casting shifting shadows and varying the appearance of the bands as the viewer's perspective changes. This interplay of colour and form creates an ever-changing, visually dynamic experience.
The next series, OPverse-Cylindrical Form (Figure and Ground), is created by layering, cutting, and assembling different tones and colours of clay by hand. The geometric patterns on the surface are structured according to specific visual rules, creating an optical phenomenon where figure and ground shift depending on the viewer's focus. When one concentrates on the thinner interconnected shapes, they emerge as the figure, while the remaining areas recede into the background. Conversely, when attention shifts to the thicker shapes, the roles reverse. Additionally, darker tones tend to appear recessed, while lighter tones come forward, emphasising the interplay of visual perception. Through these techniques, the work invites the viewer to engage in multiple ways of seeing and experiencing the piece.
The final series in this exhibition focuses on geometrical forms as the primary structure of the works. Compared to my previous OPject series, which featured complex and composite shapes, this new series embraces simplicity while incorporating lids to add both novelty and functionality. Geometric forms are familiar, universally recognised, and evoke a sense of stability and presence. The power of their simplicity is what I aim to explore in these pieces.
Over time, the boundary between my work and daily life has blurred, and I have often felt the pressure that only complete dedication to my art would yield great results. However, I have come to understand that such pressure can create mental and physical tension that does not always lead to better work. I have realised the importance of maintaining both my mental and physical well-being in the creative process. Every small element of life influences my work, and my work, in turn, shapes the direction of my life. Striving for this balance, I now make a conscious effort to enjoy both work and life together, allowing myself the space to be in the optimal state for creativity. Though external circumstances may present challenges, I will continue to create new and meaningful works, hoping to reciprocate the support and interest of those who follow my journey.
Jin Eui Kim, July 2025