Dan Kim explores the aesthetic possibilities that soil and glaze can embody. In particular, he continues to interrogate with expanding the gestures involved in ceramics production to three-dimensional entities. His work consists of the appearance of geometric shapes with distorted lines and faces or overlapping colours. It emphasizes an irregular rhythm that deviates from the grammar of conventional ceramics that value practicality. In addition, the clay and pigments piled up by the will of the artist accidentally flow out in the kiln, create cracks, and be transformed into unexpected surfaces. The overlapped intention and coincidence results are once again placed as the beings of open states in various spatial contexts, including floors and walls. Therefore, Kim presents the possibility of ceramic art being free from gravity and the purpose of its use.
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