JIN EUI KIM
Solo exhibition of studio pottery
7 February - 29 march 2026
Objective Unreality
Encountering one of Jin Eui Kim’s vessels may give us a sense of uncertainty: ‘what am I actually seeing here?’ Jin’s objects hover between reality and illusion, confusing our sense perception and making us question what is real and what is not. The longer we look, the more ambiguous figure and ground become, the more unstable the form and surface seem to be. What is not uncertain is the technical mastery with which Jin manipulates our visual perception. His journey as an artist has been not only to investigate how tone and colour influence our understanding of three-dimensional form but also to master the technical means that enable us to experience this.
Jin’s research and experimentation over two decades have focused primarily on a monochrome spectrum of eighteen tones ranging from white through greys to black. Painted in bands of varying widths and intervals onto vessels with subtly undulating surfaces, these restrict or remove data (information) on the surface (as Jin puts it). ‘The ridged surfaces interact dynamically with light’ (Jin’s words) to confuse the viewer. As we move in relation to the object, our physical and visual perceptions of it are placed at odds with each other.
Jin’s latest project, leading to this exhibition, reveals a radical new approach, in which colour and colour theory play an increasingly important role. Previously, Jin used contrasting red or pink bands to draw our attention to certain parts of the form. Now, he is using tonal monochrome and coloured blocks to construct vessels, to explore figure-ground illusions and to challenge our perception of surface and form (his OPverse-Cylindrical Form (Figure and Ground) series). He is also exploring how grouped objects interact, both vessels and wall-mounted works (the OPject-Superposition series). ‘This interplay of colour and form’, he says, ‘creates an ever-changing, visually dynamic experience.’
Constructing vessels from blocks is technically extremely challenging. Given the need to ensure that all the blocks will fire (and shrink in the kiln) uniformly without leaving splits or deformations that ruin the final visual effect, there is an inherently high risk of failure. This project has meant extensive research: identifying the right clays that hold their form, mixing earthenware clay with porcelain, colour testing, as well as making custom-designed tools using the resources of Fablab Cardiff, the digital fabrication workshop at Cardiff School of Art and Design.
Exhibition catalogue extract by Andrew Renton
Jin's research and exhibition have been made possible with the support of the Arts Council of Wales
Encountering one of Jin Eui Kim’s vessels may give us a sense of uncertainty: ‘what am I actually seeing here?’ Jin’s objects hover between reality and illusion, confusing our sense perception and making us question what is real and what is not. The longer we look, the more ambiguous figure and ground become, the more unstable the form and surface seem to be. What is not uncertain is the technical mastery with which Jin manipulates our visual perception. His journey as an artist has been not only to investigate how tone and colour influence our understanding of three-dimensional form but also to master the technical means that enable us to experience this.
Jin’s research and experimentation over two decades have focused primarily on a monochrome spectrum of eighteen tones ranging from white through greys to black. Painted in bands of varying widths and intervals onto vessels with subtly undulating surfaces, these restrict or remove data (information) on the surface (as Jin puts it). ‘The ridged surfaces interact dynamically with light’ (Jin’s words) to confuse the viewer. As we move in relation to the object, our physical and visual perceptions of it are placed at odds with each other.
Jin’s latest project, leading to this exhibition, reveals a radical new approach, in which colour and colour theory play an increasingly important role. Previously, Jin used contrasting red or pink bands to draw our attention to certain parts of the form. Now, he is using tonal monochrome and coloured blocks to construct vessels, to explore figure-ground illusions and to challenge our perception of surface and form (his OPverse-Cylindrical Form (Figure and Ground) series). He is also exploring how grouped objects interact, both vessels and wall-mounted works (the OPject-Superposition series). ‘This interplay of colour and form’, he says, ‘creates an ever-changing, visually dynamic experience.’
Constructing vessels from blocks is technically extremely challenging. Given the need to ensure that all the blocks will fire (and shrink in the kiln) uniformly without leaving splits or deformations that ruin the final visual effect, there is an inherently high risk of failure. This project has meant extensive research: identifying the right clays that hold their form, mixing earthenware clay with porcelain, colour testing, as well as making custom-designed tools using the resources of Fablab Cardiff, the digital fabrication workshop at Cardiff School of Art and Design.
Exhibition catalogue extract by Andrew Renton
Jin's research and exhibition have been made possible with the support of the Arts Council of Wales
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