(diary)
Year
Title
Institution
Location
/ 뒹는 돌은 언제 잠깨는가 (ROS-project)
/ 나의 적이자 동지에게
/아시아 국제 도자 교류전
The chance that I’ll meet a rainbow Today
오늘 하루 내가 무지개를 만날 확률(2024~) ceramic, epoxi clay, 200x182x70(mm)
오늘 하루 내가 무지개를 만날 확률(2024~) ceramic, epoxi clay, 200x182x70(mm)
Forms of time/시계(2024)
ceramic, 240x220x35(mm)
ceramic, 240x220x35(mm)
Autonomic Drugs / 자율신경제(2024-2020)
ceramic, 120x140x70(mm)
ceramic, 120x140x70(mm)
Autonomic Drugs-White(2021)
feldspar, silica, alumina, calcium carbonate, 160x200x160(mm)
feldspar, silica, alumina, calcium carbonate, 160x200x160(mm)
Thesis and Antithesis
정의 편지, 반의 편지(2023)
ceramic tile, 150x150x30(mm)
정의 편지, 반의 편지(2023)
ceramic tile, 150x150x30(mm)
If There is Such a Thing as Will
의지라는게 존재한다면(2023)
ceramic, 180x180x160(mm)
의지라는게 존재한다면(2023)
ceramic, 180x180x160(mm)
love is A+B=AB(2021), Film photography
Shape of love/사랑의 형태(2021-2024), ceramic, fabric on canvas
Shape of love/사랑의 형태(2021-2024), ceramic, fabric on canvas
Silhouette of life/생의 실루엣(2022)
pigment print
pigment print
Kim Hyeonyoung (b. 1995) approaches chance and necessity encountered in life as integral conditions of our existence, and continues her practice with a focus on the layers of emotion that arise from them. In particular, through ceramics, she attends to sensing an order already at work outside of human consciousness, and to the emotions that emerge from the realization that seemingly separate entities are placed under the same underlying principles.
She explains her works in a sentence below,
“I wish to give their own volition to clays.”
having previously earned her Bachelor’s degree at the same institution in 2019.
She has received an Excellence Award at the International Ceramics Competition Gyeonggi in Korea in 2024,
as well as at the Mino competition in Japan and the FRANZ Rising Star Project in Taiwan in 2021.
Since that year, She has participated in several group exhibitions, including Everything is in its Place (2021) at SeMA Storage, Made, Created, Formed(2023),
Still, a Happy Ending (2024), Art Busan (2024). Additionally, she has held 6 solo exhibitions during this period.
특히, 도자를 통해 인간 의식의 바깥에서 이미 작동하고 있는 질서를 감각하고, 분리된 개체들이 동일한 법칙 아래 놓여 있다는 자각에서 비롯되는 감정에 주목한다.
그녀는 그녀의 작업을 아래의 한 문장으로 설명한다.
“나는 흙에게도 자유의지를 부여하고자 한다.”