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Ceramic pieces for sale.
For all inquiries, please email the artist or direct message through Instagram with the item name or number.
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Circular Vessel in Crazed Brown | SOLD
2020. Earthenware and glaze. 9 x 9 x 6cm.
Non-watertight.
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Bottle 5 | SOLD
2019. Earthenware and glaze. 6.5 x 4 x 20.3cm.
Non-watertight.
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Planter in Crazed Pewter
2020. Earthenware and glaze. 11.3 x 11.3 x 6.5cm.
Watertight.
$20 (excl. shipping)
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Saucer in Crazed Pewter
2020. Earthenware and glaze. 13.7 x 13.7 x 3.5cm.
Watertight.
$20 (excl. shipping)
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Low Bowl in Crazed Brown | SOLD
2020. Earthenware and glaze. 14 x 14 x 5cm.
Non-watertight.
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Small Pot in Ancient | SOLD
2020. Earthenware and glaze.
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Thought Piece in Ancient | SOLD
2020. Earthenware and glaze. 16 x 9 x 23 cm.
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Collage 1
2019. Earthenware, glaze, underglaze and epoxy. 18 x 13 x 26 cm.
$370 (excl. shipping)
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Thought in Brown Rutile
2020. Rutile and bronze glaze on terracotta. 10 x 5 x 11cm.
$20 (excl. shipping)
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Thought in Blue Rutile | SOLD
2020. Rutile glaze on terracotta. 7 x 5.5 x 20 cm.
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Thought in Silver | SOLD
2020. Glaze on terracotta. 7 x 7 x 15 cm.
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Annie Areum Shin is an emerging Korean-Australian artist based on Darug Country, Sydney. Her practice employs an ‘art for my sake’ approach to realise and elucidate the psychological processes and frameworks that underlie her aesthetical choices and mental state. Through artmaking, she turns to queries of angst and internalisations, implications of applied psychology, and fragments of the self that were birthed from them.
Her focus on material exploration, abstraction and collage across painting, sculpture, and installation allow mimicry of her mental space and the dialogues that unfold within. The participatory and interactive domains of Shin’s recent works reflect her developing interest in sharing these self-discoveries with the public.
Shin completed her BFA and BSc at the University of New South Wales, and BSc(Hons) at the Australian Catholic University. She is currently completing a Masters in Clinical Psychology. Her practice stems from the convergence of her two disciplines. Shin was awarded the Local Artist award for the Blacktown City Art Prize and exhibited across Sydney in group shows at the Art Gallery of New South Wales, UNSW Galleries, Kudos Gallery, AD Space, and The Leo Kelly Blacktown Arts Centre. Her work has been acquired by the Blacktown City Council. Shin also facilitated creative workshops for the Blacktown Arts Centre, Gallery Lane Cove, UNSW, and Front-Up. Shin recently completed her internship with Kil.n.it Experimental Ceramics Studio and completed a curatorial project with The Leo Kelly Blacktown Arts Centre.
Top: ‘Haptic 1’ (2021).
Bottom: ‘Qualia’ Series in exhibition ‘my brain but not my brain’ (2020), Kudos Gallery, Sydney.
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Final work, exhibition and installation views and details of each piece for:
Annie Areum Shin, Hand thoughts: Journals of tucking my mind into repose, 2020, mixed media (earthenware, aerosol, acrylic, plaster and fabric), dimensions variable (approx. 50~60cm height per piece).
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Photoshop Experiment - leading up to the finale
Photoshop has been a definite test of my patience as I put these together... although, there is definitely something releasing and rewarding about seeing it in an imagined exhibition space.
Some missing elements that will be present in the actual exhibit are:
instructions for self-compassion exercise for the viewer
text on the structures, as the black underglaze pencil was not visible on the black spray paint surface.
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Conceptual Research: Mirroring Steps of Self-compassion Exercise in Making
Below are the strict steps I followed while making my structures, which will also be displayed in an instructive manual-record style for the viewer to follow upon exhibit: (in brackets is what is done in the mental exercise)
Piling slabs of worry, using columns as bases (Mindfulness of worry)
Binding the slab structure together (Capturing the thoughts onto paper)
Gently patting and smoothing all facades, caressing the mess at hand (Responding to the thoughts with a compassionate voice)
Making imperfections on the surface by repetitive mark-making and text (Generalising the thoughts to the wider ‘imperfect’ human experience)
Upon research on my psychology side, I have come across a handful of research on how art is used to direct self-compassion and boost mindfulness.
(e.g. https://www.tandfonline.com/doi/pdf/10.1080/08322473.2018.1454687)
But beyond what is known as ‘art therapy’ for clinical purposes, my relationship with making is much deeper; making itself is a form of release, and expression, unconscious and conscious observation of the self. Research will never veer toward these metaphysical discourse, but that’s exactly where art comes in and what I aim to communicate through my final work.
What used to be art for art’s sake in my practice is more so now art for MY sake.
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Research: Form and Support in Cameron Jamie’s work
While searching for artists that work with hand-built, biomorphic forms, I came across Jamie’s works.
While the textures themselves lean towards a more grotesque side, the earthly palettes against the cold white and cement of the gallery space is an interesting clash.
More appealing, is the overall fluidity and rawness of the form and the support. Something I hadn’t considered before is building my own support. Although I have settled to display my work on a wide work table or a low plinth, creating another sort of resonance and harmony with a curated supporting structure could be an interesting avenue to pursue later on.
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