In this conversation, Jihyun Kim discusses her practice in the context of New Members of the Craft Potters Association at Contemporary Ceramics. She reflects on her working methods, sources of inspiration, and the ideas that underpin her work. The exhibition runs from the 2nd – 25th April 2026.
Interview by Dee Honeybun
The Exhibition
Contemporary Ceramics: How has your work grown or changed for this exhibition?
Jihyun Kim: For the New Members Exhibition, I am presenting three variations from my Salty Fairy series. This is an ever-evolving body of work in which I continuously explore new forms, colours, and firing approaches. A key focus is pushing my “gloop glaze” technique, using glaze not just as a surface, but as an integral structural element of the piece.
The three works on display were created between 2024 and 2026, reflecting the progression of my experimentation and the ways the series has developed over time.
Imagination Becoming Tangible
Contemporary Ceramics: You describe your introduction to clay as a moment where imagination became tangible—how has your relationship with that “transformative” quality of ceramics evolved since your early studies in South Korea and later training at the Royal College of Art?
Jihyun Kim: During my early studies in South Korea, I focused on learning a wide range of ceramic techniques while beginning to translate my imagination and doodles into tangible, three-dimensional forms. That was when I first understood clay as a medium that could bring ideas into physical reality.
At the Royal College of Art, my approach shifted. I was given the freedom to explore materials and processes without the pressure of technical perfection. This allowed me to experiment more openly, to question my own narratives, and to develop my ideas through research, critique sessions, and hands-on exploration with different tools and materials.
Having that time and space was essential. By my second year, I had developed a stronger sense of direction and motivation for my degree show. I created a series of ceramic works rooted in my South Korean heritage, drawing on Korean mythological stories and reinterpreting them through my own joyful and personal aesthetic.
At the same time, my material research led to the development of my sculptural glazing technique. This allowed me to create works that combine both conceptual storytelling and material experimentation, bringing together the two strands of my practice in a more resolved way.
On Balancing Influences
Contemporary Ceramics: Your work draws deeply from Korean fairy tales, folk beliefs, and personal family rituals. How do you navigate the balance between personal memory, cultural inheritance, and contemporary interpretation when translating these influences into functional ceramic forms?
Jihyun Kim: My starting point is usually a specific Korean mythological story that I want to explore.
These stories are closely connected to my childhood and to the family rituals I grew up with, in a household where these traditions were valued and practiced. Because of that, my work begins from a personal and emotional place.
From there, I expand through research, looking into the historical and cultural context behind these traditions. This helps me move beyond memory into a broader understanding of their meaning and significance.
At the same time, I am interested in making ceramics that people can use in their everyday lives. I want my pieces to feel immersive and to become part of daily routines. So I think carefully about functionality and try to find a form that naturally aligns with the story I am interpreting.
The final pieces bring these elements together, combining personal experience, cultural references, and contemporary design into forms that feel both meaningful and joyful.
Embracing Glaze and Firing
Contemporary Ceramics: You embrace glaze and firing processes where gravity and fire actively shape the outcome—what draws you to this element of unpredictability, and how does it influence your sense of authorship and control within your practice?
Jihyun Kim: The technical and visual language of my work is strongly shaped by the behaviour of my gloop glaze.
I use glaze not simply as a surface or decorative element, but as a material that can create a sense of visual mysticism. I am interested in evoking a moment of surprise, where the viewer might ask, “How is this possible?”
By integrating glaze into the structure of the piece, I work with gravity and the conditions inside the kiln to guide how it melts and moves. I set up the process carefully, but I also allow the fire to play an active role in shaping the final form.
This balance between control and unpredictability is central to my practice. While I design the initial conditions, I accept that the final outcome is a collaboration between myself, the material, and the firing process.
For quite a few of my formative years, I struggled with the concept of where my work fitted into the wider ceramics world. Was I a craft potter, or an artist, or maybe both? The first few years of my practice I was producing mostly tableware, a well as a small amount of these experimental works with stones. Those earlier pieces were small, and I was unable to push the clay far due to inexperience. The cracks and tears began to develop within my work as I gained experience and began testing the boundaries of the material – increasing the size and quantity of the stone inclusions. I found I didn’t sell many of those earlier pieces and I had a good idea as to why, but my curiosity in following this route further outweighed the financial situation (which if I’m honest was very difficult on some occasions). After many years I stopped making tableware and focused my energies on developing the experimental aspect of my practice.
Because the work is unusual and goes against the many traditional ways of working it can sometimes confuse people. Now, my mind is more settled – I try to take the viewer out of the frame and make work that is true to myself. I have to be comfortable in the work I make, and hopefully then the viewer will begin to understand what it is I am trying to do.
On Change
Contemporary Ceramics: How has your practice changed over time? What has been a seminal and/or inspirational moment?
Jihyun Kim: As I mentioned earlier, a key turning point in my practice was my time at the Royal College of Art.
Being in that environment gave me the freedom to experiment, take risks, and fully immerse myself in the material. Engaging with my peers and learning from inspiring tutors was incredibly formative, and it helped me establish a clearer artistic language and a stronger sense of the stories I want to communicate through ceramics.
Another significant influence has been my internship/residency experiences at Glasgow Ceramics Studio and Cockpit Arts. These opportunities were essential in shaping my development as an independent artist. They provided not only technical knowledge but also practical insight into sustaining a creative career, including how to approach projects, commissions, and presenting work to the public.
Through these experiences, my practice has become more confident and refined. I have pushed myself to create bolder work, while also deepening my exploration of material processes, particularly in glazing and slip casting. Overall, these moments have helped me move from experimentation into a more focused and intentional practice.
