DIMIN is happy to current Good day, Goodbye, a solo exhibition by Michelle Im exploring id, diaspora, and the duality of cultural belonging by means of a brand new physique of ceramic sculpture.
On the heart of this exhibition is a refrain of terracotta sculptures modeled after Korean Air flight attendants, immaculately poised figures that occupy the liminal area between departure and return. These works are half homage, half private mythology. For Im, the cabin of an airplane turns into an unlikely sanctuary: an area of meditative calm, of give up, of fleeting connection. The flight attendants—a direct nod to Terracotta Warriors of Xi’an China of their stance and solidarity—embody each the dignity and perfection of company service and the quiet power of those feminine warriors. Every sculpture is rigorously composed with gestures and objects referencing acts of service—aprons, pitchers, sporks—subtly invoking themes of affective labor, care, and female camaraderie. Im attracts from her expertise as a captain at a Michelin starred restaurant, and the rituals of efficiency and precision in service work. Somewhat than reject these home service roles, the artist reclaims their dignity and complexity, illuminating the choreography of emotional labor as one thing sleek, highly effective, and private.
Im’s observe is materially and conceptually wealthy, merging conventional ceramic strategies with a up to date narrative of id. Using terracotta clay and rooted within the low-fire Maiolica custom, her course of honors a lineage of artisanship—one intertwined along with her circle of relatives historical past. A love of low-fire ceramics stems from a fascination with the lineage of Chinese language blue & white porcelain aesthetics. Mockingly, for thirty years Im’s uncle owned a ceramic manufacturing manufacturing unit in China the place he produced imitation Dutch Delftware and souvenirs that he exported again to Europe. “A replica of the copy of the copy”, she explains. She remembers rising up surrounded by small European souvenirs made within the manufacturing unit (and questioning the proliferation of blue and white windmill and clogs, particularly as that they had by no means traveled to Europe.
Increasing her investigation of Korean ceramic traditions, Im attracts inspiration from the classical ‘Moon Jar’, a spherical vessel constructed of two thrown components distinctive to the Joseon Dynasty. This kind serves as a strong metaphor for her personal bicultural expertise: Korean and American, collective and particular person, previous and current. Every of Im’s sculptures is constructed with meticulous consideration to type and modularity, eschewing seen seams to create unified, totemic figures. Just like the moon jar, this becoming a member of of two hemispheres right into a single unified type turns into a logo of reconciliation—of fragmented id, of private migration, of belonging in two worlds concurrently. As an alternative of uniform glazes, the items are completed with a mix of handmade Maiolica, industrial glazes, and unglazed matte surfaces distinguishing pores and skin tones, clothes, and materials floor. The figures’ colourful hairdos reference Obangsaek, the 5 cardinal colours of the normal Korean shade spectrum.
Persevering with to layer custom and cultural commentary, the titles of the sculptures are drawn from an historic Korean face-reading observe generally known as Gwansang, with names assigned by the artist’s mom based mostly on every determine’s expression. For instance, Im’s sculpture Hyo-Quickly (孝順) interprets to ‘filial piety’ and ‘purity’, traits instantly obvious within the face of sculpture. A favourite amongst her mom’s names, Im portrays Chae-Ri (彩悧) holding a bottle of her favourite wine Chateau d’Yquem. Chae-Ri means ‘many colours and sensible’, a reputation bestowed “as a result of the flight attendant seemed like she talked rather a lot”. The themes of those names hook up with Confucian beliefs deeply embedded within the material of Korean society—humility, purity, restraint, significance of social order, and familial piety. Rendered in Romanized Korean and Chinese language characters, these titles reveal values deeply embedded in conventional beliefs and subtly gesture towards Korea’s up to date magnificence tradition and its complexities, together with the normalization of facial cosmetic surgery. Good day, Goodbye references the Korean normal of two given names, in addition to the tune from The Beatles which provided the artist consolation and readability in moments of private dissonance. It’s a phrase that captures the transient nature of house, the bittersweet rhythm of arrival and departure, and the temporary moments of wholeness in between.
Good day, Goodbye is a poetic meditation on diaspora, labor, magnificence, and the private rituals that maintain us in transition. By way of her deeply private and evocative sculptures, Michelle Im invitations us to rethink the areas—and faces—that form our understanding of house.
