In this conversation, Miae 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?
Miae Kim: This body of work wasn’t developed specifically for the exhibition; it represents the latest stage of the East Meets West boxes I’ve been evolving over time.
On Dialogue
Contemporary Ceramics: You describe your work as a dialogue between Korean heritage, Hangul, and Western influences—how do you decide when these elements are in conversation with each other versus when they should remain in tension or contrast?
Miae Kim: Visually, when elements share a rhythm—similar line weight, spacing, or flow—they naturally come into conversation. I introduce tension by working with contrasting glazes, sometimes allowing them to run into each other in a more uncontrolled way. This can create moments that feel chaotic, which I balance against more restrained, composed areas so both tension and harmony can exist within the same piece.
On Bridging Worlds
Contemporary Ceramics: Your practice seeks to bridge natural and cultural “worlds,” from fluid organic forms to structured patterns—how do you approach translating something as abstract as “balance” or “harmony” into visual form?
Miae Kim: I approach balance through proportion, repetition, and negative space, with line playing a key role in dividing and structuring the surface. Organic elements are offset by more controlled patterns or geometry, and harmony comes from how these parts relate—allowing the eye to move across the piece without any one area overwhelming the whole.
Building from the Personal
Contemporary Ceramics: You speak about your work as both deeply personal and a study in cultural synthesis—how do you personally navigate the space between introspection and cultural storytelling when developing a new body of work?
Miae Kim: I usually start with something personal—often a word or simple idea—and build from there. Cultural elements come in as a way to shape and support that starting point, helping to give it form without overcomplicating it.
Composition and Flow
Contemporary Ceramics: You’ve moved through several creative worlds—from animation and visual effects in Los Angeles to ceramic practice in London—how has your background in film and digital storytelling influenced the way you approach form, process, or narrative in your ceramics?
Miae Kim: My background in animation and visual effects influences how I think about composition and flow. I consider how the eye moves across a piece and how different elements interact, almost like a sequence. At the same time, working with clay has introduced a level of unpredictability that contrasts with digital precision, which I’ve come to value as part of the process.
