JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”
Jung’s pensive, abstracted beings sprout limbs and minimal—if any—facial features. Each piece is vaguely animalistic and evocative of weather, the elements, and organic textures. A cloud walks on four legs, a green flame looks back at us with two beady eyes, or a wavy, blue being takes on the physical persona of wind.
“Walking Daydream” (2024), clay and foam clay, 49 x 36 x 46.5 centimeters
Many of Jung’s works tap into universal human experiences and concerns, like dreams, possibilities, and ego. “Potential,” for example, highlights a slightly bulbous, pink form that stands on four legs, as if preparing to metamorphose into something altogether new.
Jung’s work has recently shifted from an emphasis on figures to more abstracted creatures, focusing on textures and color. After an experience that deeply impacted her personal life, she felt encouraged to explore new directions in her work. “I’m coming out of an old shell and welcoming a new world,” she says.
Jung will open a solo exhibition on November 16 at Simple Object in Taipei. Find more on Instagram.
“Mass of Ego” (2024), clay and synthetic resin, 14 x 19.3 x 34.5 centimeters
“Burn Green” (2024), clay, 29.5 x 14 x 47.2 centimeters
“Potential” (2019), clay, 17 x 12 x 32 centimeters
“Free Animal” (2024), clay, 43.5 x 16.3 x 38 centimeters
“Wind” (2024), clay, 18.5 x 14 x 54.5 centimeters
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