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America Age > Blog > Art & Books > Porcelain Vessels Are Portals By means of Time and Area in Work by Solar Hwa Kim
Art & Books

Porcelain Vessels Are Portals By means of Time and Area in Work by Solar Hwa Kim

Enspirers | Editorial Board
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Porcelain Vessels Are Portals By means of Time and Area in Work by Solar Hwa Kim
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Within the late seventeenth century, throughout Korea’s Joseon Dynasty, a very rotund, plain white porcelain vessel rose to reputation. Nicknamed “moon jars” for his or her milky glaze and spherical type, the earliest examples have been completed in wood-fired kilns so as to add character to their minimalist surfaces. Treasured and reproduced by expert artisans all through the centuries, the basic model continues to affect modern artisans.

For Brooklyn-based artist Sung Hwa Kim, the normal Korean jar serves as a place to begin for an ongoing collection of work invoking ornamental vessels as metaphorical containers for the previous. Within the context of the still-life, he conjures what he refers to as “visual haikus,” poetic evocations of the passing of time, like altering seasons and the transition from day into evening.

“Still Life with Jar, Ashtray, and Vincent van Gogh Painting” (2024), acrylic and flashe on canvas, 72 x 60 inches

In Kim’s present solo exhibition, Spring, Summer time, Fall, Winter, and Spring at Harper’s, the artist emphasizes quiet, on a regular basis moments in home settings that usually overlook brick buildings or the long-lasting Brooklyn Bridge. A few of his compositions are vibrantly monochrome, setting the scene for a vase on prime of a desk, containing a scene from a historic portray or faraway panorama.

Kim usually incorporates spectral, glowing bugs (beforehand) and situates the vessels on sills or close to home windows. Vases include landscapes, timber, and animals, whereas decor on the partitions reference works by well-known modernists like Vincent van Gogh, René Magritte, and Sanyu.

Contained in the pots, the flora seems ghost-like or light, rendered in fuzzy grey marks, and objects left close by, like a pencil and pocket book or a ingesting glass, recommend that somebody was lately current however an unspecified time has handed since they left. The jars function portals to different occasions and locations simply because the home windows present views of one other world. “Ultimately, Kim masterfully inhabits the role of guide, making perceptible the delicate threshold between what fades and what endures,” says a gallery assertion.

Spring, Summer time, Fall, Winter, and Spring continues in New York by means of April 5. See extra on the artist’s web site and Instagram.

a vertical acrylic painting predominantly in shades of red and orange, featuring a vase on a table near a window overlooking a city, and the vase contains a landscape, almost as if it is a portal
“Still Life with Jar, Fruits, and Incense Burner” (2025), acrylic and flashe on canvas, 72 x 60 inches
a vertical acrylic painting predominantly in shades of brown and gray, featuring a vase on a table near a window overlooking the Brooklyn Bridge, and the vase contains a landscape, almost as if it is a portal
“Still Life with Jar and Round Glass Top Table” (2025), acrylic and flashe on canvas, 50 x 40 inches
a vertical acrylic painting predominantly in shades of blue, featuring a vase on a table near a window overlooking a city at night, and the vase contains a landscape with two birds, almost as if it is a portal
“Still Life with Jar, Moon Lamp, and René Magritte Postcard” (2024), acrylic and flashe on canvas, 72 x 60 inches
a vertical acrylic painting predominantly in shades of pink and gray, featuring a vase on a table near a window overlooking a city, and the vase contains a landscape, almost as if it is a portal
“Still Life with Jar, Pencil, and Notebook” (2025), acrylic and flashe on canvas, 60 x 48 inches
a vertical acrylic painting predominantly in shades of green, featuring a vase on a table near a window overlooking a city, and the vase contains a landscape, almost as if it is a portal
“Still Life with Jar” (2024), acrylic and flashe on canvas, 50 x 40 inches
a vertical acrylic painting predominantly in shades of red, featuring a vase on a table near a window overlooking a city, and the vase contains a green-and-yellow painting by Sanyu
“Still Life with Jar and Sanyu Painting” (2025), acrylic and flashe on canvas, 60 x 48 inches
a vertical acrylic painting predominantly in shades of green and yellow, featuring a vase on a table near a window overlooking a city, and the vase contains a landscape with emphasis on a tree, almost as if it is a portal
“Still Life with Jars” (2025), acrylic and flashe on canvas, 60 x 48 inches

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