Mimi Joung
Nobody see us, Earth Moon , 2024
Porcelain and pear lustre
50 x 50 x 5cm
Series: Landscape (Plath)
CF1173
Further images
Landscape ornaments 2024 Mimi Joung's porcelain pieces are a testament to her profound understanding of materials and techniques, as well as her extensive knowledge of the history of ceramics. Her...
Landscape ornaments 2024
Mimi Joung's porcelain pieces are a testament to her profound understanding of materials and techniques, as well as her extensive knowledge of the history of ceramics. Her approach, which is both systematic and rigorous, yet inventive and intuitive, results in works that serve as distillations of multiple references and experiences.
For Collect 2024, Mimi has crafted a series of porcelain pieces inspired by classical landscape paintings, drawing from her residency with the National Museum Cardiff and her more recent residency at Villa Lena in Tuscany. These works, which reference poems by Sylvia Plath and William Blake, offer a fresh interpretation of utopian landscapes through vibrant organic porcelain ornaments that reflect both female and male desires and knowledge.
Plath’s ‘Mushrooms’ explores themes of community and social norms through the struggle for women’s rights. She imagines how these ‘discreet, quiet and voiceless’ fungi ‘take hold, heave and widen’ the world and perfectly voiceless inherit the earth. Mimi’s series of mushrooms, “The leafy bedding”, “Heaving the needles”, “The small grains make room” and “We are edible” in greens, silvers, oranges and yellows, ask us to see the magic in small things and what is hidden in plain sight.
In contrast, Blake’s “A Poison tree” looks outward and, through deceptively simple prose, shows how the repression of anger and emotion leads to competition, deception and war. Mimi sees the tree as an emblem of male force and with “Night & Morning with my tears”, “And he knew that it was mine”, “I watered it in fears”, “It grew both day and night”, “In the morning, Glad I see” creates a mulit-coloured copse where desires are grown and lost and found.
The yin and yang of mushroom and tree, our entangled life, is completed by a series of full moon wall pieces and miniature man made hills and follies (not on view). The square moons in pink, silver, blue and white are “Perfectly Voiceless”, “Little or Nothing” and “Nobody sees us”. They are all mushroom moons but one is made of air, one of water and one of earth - just like all of life.
Mimi Joung's porcelain pieces are a testament to her profound understanding of materials and techniques, as well as her extensive knowledge of the history of ceramics. Her approach, which is both systematic and rigorous, yet inventive and intuitive, results in works that serve as distillations of multiple references and experiences.
For Collect 2024, Mimi has crafted a series of porcelain pieces inspired by classical landscape paintings, drawing from her residency with the National Museum Cardiff and her more recent residency at Villa Lena in Tuscany. These works, which reference poems by Sylvia Plath and William Blake, offer a fresh interpretation of utopian landscapes through vibrant organic porcelain ornaments that reflect both female and male desires and knowledge.
Plath’s ‘Mushrooms’ explores themes of community and social norms through the struggle for women’s rights. She imagines how these ‘discreet, quiet and voiceless’ fungi ‘take hold, heave and widen’ the world and perfectly voiceless inherit the earth. Mimi’s series of mushrooms, “The leafy bedding”, “Heaving the needles”, “The small grains make room” and “We are edible” in greens, silvers, oranges and yellows, ask us to see the magic in small things and what is hidden in plain sight.
In contrast, Blake’s “A Poison tree” looks outward and, through deceptively simple prose, shows how the repression of anger and emotion leads to competition, deception and war. Mimi sees the tree as an emblem of male force and with “Night & Morning with my tears”, “And he knew that it was mine”, “I watered it in fears”, “It grew both day and night”, “In the morning, Glad I see” creates a mulit-coloured copse where desires are grown and lost and found.
The yin and yang of mushroom and tree, our entangled life, is completed by a series of full moon wall pieces and miniature man made hills and follies (not on view). The square moons in pink, silver, blue and white are “Perfectly Voiceless”, “Little or Nothing” and “Nobody sees us”. They are all mushroom moons but one is made of air, one of water and one of earth - just like all of life.
Exhibitions
Selected ExhibitionsCollect 2024