Recognised for her signature, gravity defying, ‘gloop glaze’, Jihyun Kim uses tales of Korean Folklore to fuel her experimental ceramics practice.

After completing a Masters in Ceramic and Glass at the Royal College of Art, Jihyun relocated from London to Scotland for an internship with the Glasgow Ceramic Studio. This graduate internship programme attracts a multitude of budding ceramic practitioners from across the UK to develop their craft within a working pottery studio, filled with creative, likeminded makers.

Now back in London, we caught up with Jihyun to learn more about the Korean tales of superstition that inspired her pieces, as well as her approach towards slip casting and glazing. We also discussed her time in Glasgow, chatting about the varied and vibrant creative scene, and in particular its supportive network of ceramic artists.

To kick off, could you please introduce us to your practice?

“Hello, my name is Jihyun Kim and I am a ceramic artist from South Korea. My practice blends functionality and sculptural artistry, deeply inspired by Korean folklore and the natural world.

"Growing up immersed in superstitions and folk tales shared by my grandmother, I aim to evoke a sense of magical and mystical boundaries within our everyday lives. My work is not only practical but also tells a story, bringing a touch of enchantment into people's space.”

How did you first become acquainted with clay?

“My journey with clay began during my BA studies in South Korea. Initially aspiring to become an illustrator or graphic designer, I encountered clay and discovered a new medium to bring my imagination to life. The process of transforming raw clay into durable ceramics through firing was mesmerising, sparking my passion and guiding me toward a career as a ceramicist.”

Magical and mystical narratives, as well as fungi are described by you to be visual drivers for your work. Could you tell us why these influences are so key to your creative practice?

“These influences are important to my creative practice because they connect deeply with the themes of protection and prosperity that I find in folklore. Fungi, with their mysterious growth patterns, represent the magical and unseen boundaries in our lives. By incorporating these elements, I aim to create pieces that not only reflect beauty and functionality but also resonate with the ancient wisdom and enchantment found in these narratives.”

How important is colour and the glazing process to your pieces?

“Colour and glazing are crucial to my work. I meticulously choose vibrant, flamboyant colours to evoke a magical and mystical atmosphere. The glazing process, particularly with my experimental gloop glaze, is a key aspect. I use gravity to form the glaze, so once it is fired, it looks as though time has just stopped, creating a magical effect. This technique adds unique textures and visual intrigue, making each piece stand out.”

And how does your South Korean heritage further inform your practice?

“The superstitions, folklore, and rituals I grew up with provide a rich source of inspiration. These stories not only influence the design of my work but also its functionality and utility, creating pieces that are both beautiful and practical. For example, the use of salt in Korean culture to ward off evil spirits inspired my "Salty Fairy Rings" series.

“By blending these traditional elements with contemporary design, I create works that are not only visually intriguing but also interactive, allowing the audience to engage with the cultural narratives and mystical elements embedded in each piece.”

Please tell us about your time on Glasgow Ceramic Studio’s internship programme?

“My time at the Glasgow Ceramic Studio’s internship programme was incredibly enriching. The programme provides newly graduated ceramicists the opportunity to learn about studio operations and technical processes, as well as offering time, space, and facilities to work on their own practice. I was fortunate to have that opportunity, where I gained valuable studio management and admin skills, as well as technical knowledge from fellow ceramic artists. This experience allowed me to focus on my project and successfully develop my practice to a new level.

“I was incredibly inspired during my time there, and I have so many beautiful and amazing memories. The sense of community and support from all the artists and members in the studio made me feel at home, further fuelling my creativity and growth.”

How would you describe Glasgow’s creative scene, and in particular its ceramics community?

“Glasgow's creative scene is vibrant and diverse, with a strong sense of community and collaboration. The ceramics community, in particular, is incredibly supportive and full of innovation. I also have been truly inspired by how local ceramic artists draw from the beautiful Scottish nature.

“Through their work, I get to see the stunning Scottish landscape through their eyes, which is a really special experience. Moreover, the exchange of ideas and techniques among ceramicists in different stages of their career is so stimulating, and it creates an environment where creativity and craftsmanship really flourish.”

Could you please share a bit about one of your recent works, the Myungdoo Convex Mirror?

“My most recent work, the Myungdoo Convex Mirror, is inspired by a sacred Korean shamanistic item that embodies celestial power. I designed the ceramic frame surrounding the mirror with celestial themes in mind, drawing inspiration from the sun, moon, and stars. This piece combines traditional symbolism with contemporary design, featuring a convex mirror that reflects light and space in a magical way.”

The forms, colours and surface qualities you achieve are meticulous in their execution, almost seeming digitally fabricated. Can you talk us through some of your making process?

“To achieve the meticulous forms, colours, and surface qualities, I start with a clear concept and design the form using plaster molds. I then create prototypes and samples to test glazes and techniques.

“The colour palette is chosen with care, mixing colourful slips to achieve the desired effect. After slip casting and bisque firing at a low temperature, I apply the gloop glaze, utilising gravity within the kiln to shape it. Finally, I carefully sand and refine the surface for a perfect finish, ensuring both sculptural and functional qualities.”

What clay bodies do you most like to work with and why?

“I primarily work with porcelain. Porcelain is ideal for its delicate, smooth texture and ability to capture fine details.”

And finally, what can we next expect to see from you?

“Next, I am continuing my exploration of Korean shamanistic items, such as the Myungdoo Convex Mirror series. I am also experimenting with new forms and scales for my "Salty Fairy Ring" series, aiming to push the boundaries of design and technique.”

To deep dive further into Jihyun’s experimentally functional and folklore inspired ceramics, click here.