Mimi Joung


Contain memory
Mute-Scape, a-n magazine review
Second time around, press release
North & South, side cafe project Press release
North & South main press release
Mute-Scape, Ceramic art and perception international magazine, number 69. pp93-96

Contain memory

Contain Memory

22-31 July 2005

The Crypt St. Pancras Church, Euston, London. NW1 2BA.

As its title suggests, Contain Memory is an exhibition that is concerned with both containers and memory. Phoebe Cummings, Julian Ewart, Katrin Jaeger, Mimi Joung, Anders Ruhwald and Anne Vibeke Mou, have come together as artists in ceramic and glass in a demonstration of site-specific work. The common focus of their work is their fascination with the specifics of collective memory, interior-landscape, memory-scape, memory-landscape or personal journeys as a memory.

Ceramic, and to a lesser extent glass, has traditionally been thought about purely in its practical context as a 'container', such as a cup, a vase or a vessel. The chosen venue for this exhibition, The Crypt of St. Pancras Church, can similarly be acknowledged in this way. A former receptacle for the physical remains of the deceased, it is today a residence of human memory. Concerned not with practicality, the artists instead concentrate on an evocation of the meaning of containment, exploring and capturing associations, ideas, voyages and memory.

As an old structure, The Crypt has a history and a story, perhaps hidden, to tell. The artists work, too, has its own tale, its history, and of course, memory. Each work displayed in the exhibition is conceived especially for the very particular ambience of The Crypt. Taking the space itself as their starting point, the artists aim to open up a dialogue between their work, its context and relationship with its environment and the response of the visitor. This may be viewed as an exploration of the interior landscape, perhaps between the container of the contained, a contest between the controlled and the uncontrollable, or fiction versus reality.

Nathaniel Dafydd Beard, July 2005

Mute-Scape, a-n magazine review

Mimi Joung: Mute-Scape

By Phoebe Cummings
9 Sep - 11 Nov 2006

Foucault defines language as "...a fragmented mass, its enigma renewed in every interval, which combines here and there with the forms of the world and becomes interwoven with them: so much so that all these elements, taken together, form a network of marks in which each of them may play, and does in fact play, in relation to all the others, the role of content or of sign, that of secret or of indicator."[1]
Mimi Joung's exhibition Mute-Scape presents a collection of objects revealing fragments of stories: of daily life, of human relationships, of place and displacement.  The use of materials and working process is a careful language, one that is both intuitive and informed.  Born in South Korea, Mimi Joung has also lived in the U.S and the UK.  The fractured nature of everyday life seems to underpin the works on display.
Parallels to writing may be drawn from the hand-pinched clay pieces, which are suggestive of early methods of writing such as tallies and tokens.  Joung describes "My daydreams, anxieties and traces of forgotten words are kneaded into the clay."  The limitless possibilities of words rearranged to form meaning echoes the repetition and singularity evident in the making of these objects day after day, like a diary.  Joung references Italo Calvino's Invisible Cities, where "Both narrator and reader seek resolution within the fragmented non-definitions of his imaginary places.  But this questioning always leads to future collections of beginnings and alternatives that never resolves."  Similarly, Joung's work seems to thrive in this state of un-resolve.
Most of the objects are constructed from groups of smaller pieces of ceramic, all of which are in some way contained: in bindings, found objects or in the precarious balance of their form.  This provides a resolution of sorts, enabling both beginning and end, though simultaneously the work has neither.  It is, then apt that this work is presented in a space that was formerly a Church, the building itself a container and vessel.  A memorial tablet on the wall is inscribed with the words "Until the day break". It is evocative of this dual sense of past and future, reflection and anticipation.  One, small piece in the Day Collector series, takes a found tin and binds it with a continuous loop of hot glass.  The process is direct, and it is with this ease and simplicity that Joung manages to contain a complexity of thoughts. In many ways these thoughts lead back to the title and the idea of something mute- something unheard or unsaid.  There is a silence in writing, of speaking without sound.  The physical remains, whether ink on a page or the manipulation of other materials may be returned to again and again, to be experinced in new ways.  Mute-Scape succeeds as a similar place for return and departures.   

[1] Foucault, Michel, The Order of Things, Routledge, London, 2002 (first published as (Les mots et les choses, Editions Gallimard, 1966)
20-21 Visual Arts Centre
9 Sep - 11 Nov 2006 
St Johns Church, Church Square, Scunthorpe, Lincolnshire DN15 6TB

Phoebe Cummings MA RCA Ceramics & Glass

Second time around, press release



July 11th to August 24th

It's time to re-evaluate.  What beautiful objects are sitting under your nose?  What treasures lie stored in your house, which could and should be cherished again?  

The Gallery is pleased to present Second Time Around, a story about looking again at the way we live created by artists who are using their imagination to inspire ours.

"My intention was to rethink the history of the object creating new possibilities for its future."  For this exhibition MIMI JOUNG reinterprets old china, now discarded for the Ikea alternative but which speaks of the long tradition of craft and design in Britain.  Joung uses a water cutter to produce beautiful wall-sculptures.

Constructed from the brightly coloured objects and images from magazines that are so easily discarded in our society, ADAM KING creates a "futuristic world of decay, abundance, growth, beauty, shattered frontiers and new possibilities."  Historical landscape painting and surrealism meet with B-movie film sets in King's free-standing sculpture which creeps across the gallery wall in a series of baroque patterns and swirls. Images of birds, butterflies, flowers, insects, soldiers, consumer objects and guns are held together with paper-clips and pins that speak of a modern construction ethos  - easily put together and as easily pulled apart.

"The artist, as an outsider, is ideally placed for picking up that which has been chucked out." CLAIRE BREWSTER's work is about retrieving the discarded, celebrating the unwanted and giving new life to the obsolete.  Brewster finds her material in flea markets, car boot sales and charity shops.  Unloved and unwanted things are transformed into something magical.  We become aware of the need to look closer at things on a daily basis.

MATT HAZELDEN & LISA BURKE scour Europe for antiques which they then commission young artists to use as a blank canvas for their ideas.  An old French armoire is given a new lease of life, used screens become covetable again while antique chairs, re-painted and re-covered, combine two ages of craft.

CATHERINE HAMMERTON will be hand-making eco-wallpaper specifically for the show.

Second Time Around is part of the Adventure Ecology's ongoing arts programme to build awareness and debate around climate change.  As before, profits after artists' commissions go back into the Adventure Ecology education programme.  

Open Tuesday to Friday :10am to 6pm, Saturday 11am to  5pm, Monday: by appointment

The Gallery @ Adventure Ecology HQ, 125 Charing Cross Road, London WC2H OEW
gallery@adventureecology.com   www.adventureecology.com, +44 20 7758 4717


North & South, side cafe project Press release

"Gateshead Plates"  by Mimi Joung

Side Café, Newcastle upon Tyne
1 - 30 June 2007

Come and experience for yourself the joy of sharing a meal served on beautiful, English Blue Willow,
Stafforshire Burleigh Blue Calico, Royal Doulton's Centennial Rose and Wedgewood Queen's Ware. For the
last 4 months artist Mimi Joung has been collecting English china plates from charity shops across North East
England. Her quest has been commissioned by the National Glass Centre for the exhibition North & South.  
Joung will replace the utility white tableware at Newcastle's Side Café with decorative second-hand English
china, challenging us to experience the pleasure of eating off beautiful ceramics and consider why they've all but
disappeared from our tables.   Customers are asked to comment in the dedicated webblog,
Following her exhibition at the Side Café Joung will reconfigure the plates to construct a carpet of memories
that acknowledges lost and past lives that will open at the National Glass Centre in July. She will lay a table that
imagines how we 'take tea' in the Twenty-first Century - there are still a number of cultural conventions, rituals
and formalities to 'visiting' and being a visitor.  Normally visitors to English homes are still offered a cup of tea
or (these days) a coffee; and you may well be offered a bite to eat.
Joung's new works will explore the changes in English culture and identity through the shifting status of
tableware. Intrigued by why household tableware that is still aesthetically pleasing and perfectly functional is
discarded (in favour of cheap ceramics), her projects are an opportunity to rethink the history of the object.
Side Café, Opening times:  Mon & Sun, 8am -5pm, Tues -Sat, 8am - 11pm

The Artist
Joung was born and brought up in Korea. She moved to England seven years ago to study conservation
painting, but transferred to the Royal College of Art five years ago to continue studying ceramics, having
previously trained as a potter in Korea and Canada. Since graduating from RCA, Joung has been awarded a
prestigious Banff Fellowship, a Roostein Hopkins award and is currently taking part in the Crafts Council's next
Move scheme in partnership with the National Glass Centre and Sunderland University.  Joung's current works
are installation or situation/relational projects, using clay, glass, second-hand, found materials and everyday
North + South:  
National Glass Centre
1 July - 23 September 2007  
Preview: Tuesday 10 July 2007

An unprecedented, collaborative exhibition taking place simultaneously over six venues: National Glass Centre,
Northern Gallery for Contemporary Art and Reg Vardy Gallery in Sunderland and John Hansard Gallery, Millais
Gallery and Southampton City Art Gallery in Southampton. Fifteen artists have been commissioned to produce
new work responding to the notion of English identity in the 21st century.
The National Glass Centre exhibits three of these commissions; installations by Samar Asamoah involving glass
and Mimi Joung involving ceramics and a mail art project, 'Track and Place', alongside existing prints by Nicky
Coutts and a sound piece by Susan Diab.

North & South main press release

National Glass Centre
1 July to 23 September 2007  
Liberty Way, Sunderland SR6 0GL  
t: 0191 515 5555  
e: info@nationalglasscentre.com  
Admission Free  
Opening times: Monday - Sunday 10.00 - 17.00pm  
Northern Gallery for Contemporary Art
11 July to 22 September 2007  
City Library and Arts Centre, Fawcett Street, Sunderland SR1 1RE  
t: 0191 514 1235, e: ngca@sunderland.gov.uk  
Admission Free. Opening times: Monday and Wednesday  
late opening 9:30 - 7:30pm, Tuesday, Thursday, Friday 9:30 - 5:00pm,  
Saturday 9:30 - 4:00pm, Sunday Closed  
Reg Vardy Gallery
11 July to 31 August 2007  
School of Arts, Design, Media & Culture, University of Sunderland,  
Ashburne House, Ryhope Road, Sunderland SR2 7EF  
t: 0191 515 2128, e: robert.blackson@sunderland.ac.uk  
Opening hours: Tuesday 10 - 8pm, Wednesday - Friday 10 - 6pm,  
Saturday by appointment, Sunday & Monday Closed  
Private View
Press are invited to attend the opening of North + South at the Sunderland  
galleries on Tuesday 10 July 2007  
5 - 6.30pm: Northern Gallery for Contemporary Art  
6 - 7.30pm: Reg Vardy Gallery  
7 - 8.30pm: National Glass Centre  
A bus service will be available from NGCA to Reg Vardy at 6.15pm and  
6.35pm and then from Reg Vardy to NGC at 7.15pm and 7.35pm  
North + South
North + South is an unprecedented collaborative project that explores who we think we
are and what, in the twenty-first century, England stands for. Staged across six unique
exhibitions, in galleries at the northern and southernmost ends of England, North +
South features over thirty artists, including fifteen newly commissioned works.  
The artists exhibiting at National Glass Centre all have a connection with the North East
England and/or glass and ceramics. Samar Asamoah has created an installation with glass
that explores both Islamic art and the tradition of English stained glass windows. Mimi
Joung has collected English plates and tableware presenting them in an installation to
rethink the history of these objects. Track and Place is a project exploring the north/south
divide, inspired by the Sunderland-based mail art projects of Robin Crozier. Nicky Coutts
presents images responding to English heritage developed during her recent residency at
the Berwick Gymnasium Fellowship.
At Northern Gallery for Contemporary Art, three architects, two artists, and a
collective that includes practitioners from both professions explore our relationship to
England's distinctive built environment. All six ask how what we build embodies our
most cherished values, determines who we are, and creates our sense of civic identity.
For some, the task at hand is to imagine how we might reshape our urban environments
to provide the greatest happiness for the greatest number; whilst for others, imagining
how we might be living in the near future is the priority.
Central to the works exhibited at Reg Vardy Gallery is an exploration of English
identity through its relationship to the 'natural' landscape. Andrew Dodds North + South
commission After the Deluge explores the contemporary significance of Charles
Darwin's evolutionary theories through eco-tourism, post-colonialist and religious
metaphors. Shaun Doyle and Mally Mallinson's commissioned work Sky Blue Cinnamon
is a collision of England's pastoral and post-industrial landscape. Circled by a spectrum
of plastic budgies, this large-scale installation in the form of a motte and bailey castle is
crowned by a ruined greenhouse.
                 Image: Jacob Cartwright and Nick Jordan, illustration from
Image: Nicky Coutts, 'Estates', C-type Print, 2007                                       'Alien Invaders, publication 2006, watercolour on paper.
National Glass Centre
Featuring newly commissioned work by:
Samar Asamoah
Mimi Joung
Track and Place (Matt Hearn and Sarah Warden)
Featuring existing works by:
Nicky Coutts
Track and Place
Tuesday 17 July / 6.30pm - 8pm FREE
Discussion event initiated by artists Sarah Warden and
Matt Hearn.
High Tea with Mimi
Sunday 22 July / 3.30pm - 5pm FREE
Throwing Stones Restaurant @ The National Glass Centre
Join artist Mimi Joung for high tea served in her collection
of Gateshead China whilst she discusses her work.
Samar Asamoah, ink sketch, 2007
Chat with Samar
Saturday 28 July / 10am - 11am FREE
Samar Asamoah will lead you through her work and ideas for her new work
in the Contemporary Gallery. Existing work by Samar can be seen at John Hansard
Drop in & Draw with Samar Asamoah
Saturday 28 July / 11.30am - 5pm FREE
Investigate drawing and design with Samar Asamoah in this family drop-in workshop.
Japanese Tea Ceremony
Sunday 12 August / 10am - 4pm FREE
Experience the rituals and etiquette of the Japanese Tea Ceremony in this
drop-in event.
Northern Gallery for Contemporary Art
Featuring newly commissioned work by:
Nicola Koller / SquintOpera
Immo Klink
Featuring existing works by:
Matthew Butcher  
Space Hijackers
Oliver Payne and Nick Relph  
Please contact the gallery for an events programme.
Reg Vardy Gallery
Featuring newly commissioned work by:
Shaun Doyle and Mally Mallinson
Andrew Dodds
Featuring existing works by:
Daniel Bligh
Jacob Cartwright and Nick Jordan  
AOC, 'A Generous Kit of Parts', 2007
Leander Wolstenholme
'Native versus Non-native: an exploration
of the artificiality of the English
Leander Wolstenholme is Curator of
Botany at The Manchester Museum.
Shaun Doyle & Mally Mallinson will be
discussing their newly commissioned
Wednesday 11th July / starting at 1pm
Susan Diab will be showing existing
work at all venues
Shaun Doyle and Mally Mallinson, 'Sky Blue Cinnamon', 2007
A full colour publication will be available, with text by Billy Bragg, Peter Davidson and
an introduction by Robert Blackson. It will also feature images and text on all the
commissioned artists by the curators. Available in hard back and soft back, 96 pages.
Billy Bragg is an activist, singer and songwriter.  He is a long-time advocate of freedom
and social change and has spoken on the political issue of diversity and English identity
throughout his career. In this publication is an extract from his recent book 'The
Progressive Patriot'.

Peter Davidson is Professor of Renaissance Studies at University of Aberdeen. He has
previously written about the various cultural and anthropological associations of the
'north'. In this publication he discusses perceptions of both north and south, referencing
historical sources and contemporary art, including that in the exhibitions.
Artists Biographies
Agents of Change
The AOC is a London based architectural, design and research agency formed by Tom
Coward, Daisy Froud, Vincent Lacovara and Geoff Shearcroft in 2003.
Included in the Architects  Journal '40 Under 40' of promising young architects, and
runner up for the 2005 UK 'Young Architect of the Year Award', the AOC's work
includes housing, urban masterplanning, schools, performance spaces, participatory
projects, writing, city roofscapes, follies and urban board games. For North and South the
AOC have taken Gilbert Scott's familiar and redundant K6 telephone box - itself a
reinterpretation of Sir John Soane's tomb - and remodeled it to demonstrate the potential
it offers to generate a host of generous new uses.
Samar Asamoah
Samar Asamoah gained her BA in Fine Art from Northumbria University in 2006. Her
main art practice revolves around printmaking - principally lino prints. Asamoah takes
inspiration from Islamic Art, African textiles and Indian Folk Art to create patterns of her
own design. She adapted her techniques, working on glass, to create the piece 'The
Greenhouse', 2006. Her current practice is a continuation of this, exploring texture,
pattern, light and colour on glass.
Daniel Bligh
Bligh's fascination with the small details and personality traits associated with English
life strongly influence his song-writing. He is currently looking at how dreams and
romantic expectations can survive against the odds. The song 'Think about the Trees'
concerns itself with the end of a man's dream of moving to the rural England with his
partner, and how when she deserts him, his attitudes to the countryside and to his life
change. This song is presented in North and South in 'demo' form, close to the original
version. Bligh lives and works in Sunderland.
Matthew Butcher
Matthew Butcher trained as an architect at the Bartlett School in London. Since
graduating in 2004, he has been working on both site-specific installations and theoretical
architectural projects. His work focuses on the association between ecology, landscape
and architecture. In particular Butcher is interested in concepts surrounding the
relationship between Englishness and landscape. His work draws from traditions of the
picturesque and the sublime as well as the ideas developed by English landscape architect
Capability Brown. Butcher has exhibited in the Jerwood Space and the Swiss Cottage
Library Gallery with design collective The Mobile Studio. Butcher is a Visiting Lecturer
in Architecture at Nottingham University.
Jacob Cartwright and Nick Jordan  
Jacob Cartwright and Nick Jordan regularly produce work together, highlighting the
encounters of collaboration through video, sculpture, drawing, painting, events and
publications. Their book, 'Alien Invaders' (BookWorks 2006), takes the form of a guide-
book to non-native invasive species found in Britain. From a historical and ecological
perspective, they are interested in the unusual, poetic, remarkable or absurd interrelations
between human activity and the natural world. Cartwright and Jordan are currently artist
research fellows at The Manchester Museum. Recent exhibitions include Rub-a-dub-dub,
Protektraum exex, St Gallen, Switzerland; Godwottery, Transition Gallery, London; The
Goose Fair, Castlefield Gallery, Manchester.
Nicky Coutts
Much of Nicky Coutts' past work consisted of digitally transforming found imagery and
film footage. Her work for North and South focuses on buildings and stories that have
mutated and eroded over time to form part of a contemporary view on belonging. An
impression of E. T. A. Hoffman's tale 'The Sandman' is re-enacted on a North Sea shore
and a ruined castle is re-built out of sand. These works developed from a larger body of
work made during an English Heritage Berwick Gymnasium Fellowship in 2006. Coutts
studied at Chelsea College of Art and the Royal College of Art, London. She is currently
Fine Art Fellow at Middlesex University and Visiting Tutor at the Royal College of Art.
She lives and works in London.
Susan Diab
For some years Diab has wanted to investigate her mixed northern English and Arab
(Syrian) background. The vilification by the media of all things and people 'middle
eastern' after 9/11 moved her to act, resulting in the Arabic version of 'Oh, I do like to be
beside the seaside!' Diab was born in Newcastle upon Tyne and grew up in the south of
England. She studied Sculpture in Brighton and now lives and works in Hove. Fittingly,
Diab's piece will be played in all the venues, North and South.
Andrew Dodds
Andrew Dodds is a Belfast-born artist currently based in London. His practice
incorporates a broad range of production and distribution methods including publication,
video, audio, the internet and talking birds. Dodds has exhibited in many major public
galleries in the UK including, Ikon Gallery, Birmingham; Spacex, Exeter; Barbican
Centre, London; and independent artist-run spaces such as Jeffrey Charles Gallery and
Transition, London. His contributions to contemporary art journals - including Frieze,
Circa and A-N - expand upon and inform his research interests and practice. He has a MA
in Fine Art from The Slade School of Fine Art, University College London.
Shaun Doyle and Mally Mallinson
Shaun Doyle and Mally Mallinson met while at art school. Shaun, born in Stoke on Trent
(known worldwide for ceramics) and Mally, born in Littlehampton (known countywide
for nothing), first worked together when they had a fight at the ICA in the 90's. They
have collaborated full time since 2005 dealing with such themes as identity, religion,
stupidity and idiocy producing sculptures of fruit headed skinheads, 'Fascist Fruit Boys',
and installations of tombs for modern day recluses such as in 'King Tat', at John Hansard
Gallery. Collaboratively they are probably 60% Celtic, 30% Anglo Saxon, 9% Viking
and 6% Neanderthal.
Mimi Joung
Mimi Joung, originally from Korea, gained her MA at the Royal College of Art and
moved from London to the north of England with the Craft Council's Next Move
scheme. She is currently based in Newcastle upon Tyne. Joung trained as a potter in
Korea, before working in a porcelain studio in Canada. In recent years, she has made
project-based exhibitions inspired by her interest to explore ideas surrounding her
materials (clay) and their history. Joung completed the artist in residence program at the
Banff Arts Centre, Canada, which celebrates conceptual art in Canada and allows
international artists to explore the future of their ideas.
Immo Klink
London based photographer and artist Immo Klink is a critical observer of social and
political trends in his environment. Cultural globalization, consumerism, privatization of
public space, surveillance and private security or industrial food production, are some of
the guiding themes in his work. After graduating with a Masters in Law, Klink briefly
joined Wolfgang Tillmans' studio and has contributed to magazines such as Asbusters,
Another Magazine, Dazed and Confused, I-D, Vogue, Camera Austria, Observer
Magazine and The Independent. His work 'Mayday at Mayfair' and 'Security
Operations' has been exhibited extensively including  at the Museum of Contemporary
Arts Leon (MUSAC), Sala Rekalde Bilbao and Three Colts Gallery in London.
Nicola Koller
Nicola Koller combines humour and black humour with in-depth geographical and
architectural research. Koller gained a BA in Architecture at Oxford Brooks University
and completed her RIBA Part 2 with a Masters in Architecture. She is currently teaching
Architecture BA courses in London having also founded the practice Design Matter with
Helena Rivera. In recent months she has exhibited at the Venice Architecture Biennale
and the Architecture Foundation, London.
Oliver Payne and Nick Relph
Oliver Payne and Nick Relph's films are chronicles of the early twenty first  century,
combining filmic styles from documentary to music video and diverse reference points.
'Driftwood' was their first work, produced in 1999, which brought them to widespread
attention, and is a homage to fellow filmmaker Patrick Keiller. The work takes the viewer
on an unorthodox and bitingly critical tour of London, observing where youth cultures
collide with official rules of how public space might be used.
The Space Hijackers
The Space Hijackers are a collective of artists and architects who create unofficial
interventions into public space, with the aim of attempting to create new ways of
interacting in public space, and a new conception - at least in England - of the roles and
functions that civic space can provide. Their activities revolve around the re-
appropriation of public space and sometimes commercial environments for purposes of
entertainment, delight, and political enlightenment in varied measures. They have, since
1999, undertaken an enormous range of projects which have attracted national press
Track and  Place
'Track and Place' is a project initiated by Matt Hearn and Sarah Warden. Both artists live
and work in Newcastle upon Tyne. Over the past three years they have collaborated on a
series of projects, creating, and inviting artists to participate in free and open exhibition
structures. Continuing in this vein, 'Track and Place' encouraged artists to take part in
playing with the postal system; asking each artist to identify themselves, through their
actions, as being either 'North' or 'South', artists were invited to add a contribution
before sending it on to another artist of their choice. Within the correspondence
exchanges of ideas built up a pattern of randomly connected communities and insights
into the notion of place and identity. These unknown exchanges and patterns make up the
results exhibited in 'Track and Place'.

Mute-Scape, Ceramic art and perception international magazine, number 69. pp93-96


Article by Phoebe Cummings

ribs, I step back, onto the foot of another body, which recoils in to a neighbouring passenger.
No one looks up. Apologies are mumbled
down the carriage like quilted dominoes. I recall this scenario (like countless similar experiences on countless daily journeys).
There is a resonance, in seeing
here, the intense groupings of what, essentially,
remain isolated parts; in the tight bindings of thread and found containers; in the cascading movements held in porcelain; in the act of their making day after day. Mimi Joung's exhibition, Mute-Scape, speaks about daily life, about life in cities.
The title for the exhibition immediately brings connotations of landscape and the objects themselves may be interpreted as such.
However, where in
painting landscapes may appear to continue beyond the frame, here there is a constant awareness of limit.
The viewer is never inside the landscape as a distance and separation is always present. The landscape is contained: the viewer displaced.

Joung's use of materials and working process is a
careful language, one that is both intuitive and informed. Ceramics and glass provide a means to explore a story that is distinctly Joung's own but one that belongs firmly to contemporary culture on a wide scale. Born in South Korea, she has also lived in the US and the UK. Living between many places, as for many people, becomes a place in itself.

The reference to collecting made in the Day Collec
or series may exist in direct connection to this understanding of the fragmentary context of everyday life.
Joung describes, "My daydreams, anxieties and traces of forgotten words are kneaded into the clay."1
The making process in much of Joung's work becomes part of daily routines, almost like a diary, where thoughts are written into the making of objects.
This process sits closely to the significance of collecting and collections. Baudrillard discusses "By breaking up time, our 'habitual' patterns dispel the
anxiety-provoking aspect of the temporal continuum and of the absolute singularity of events... between the world's irreversible evolution and ourselves,
objects interpose a discontinuous, classifiable, reversible screen which can be reconstituted at will, a segment of the world which belongs to us, respond-
ing to our hands and minds."2

Joung's working process, based on the return to a daily act, provides a space for the fragment to exist in its singularity.3 The viewer may move back and forth
within the collection, for a linear experience is not imposed. She references Italo Calvino's writing, Invisible Cities, where "Both narrator and reader seek
resolution within the fragmented non-definitions of his imaginary places. But this questioning always leads to future collections of beginnings and alternatives that never resolve".4
Similarly, Joung's work seems to thrive in this state of un-resolve.
Parallels to writing can also be drawn in the objects themselves. Thehand-pinched clay pieces are suggestive of early forms of writing, such as tallies and tokens. With Day Collector, the process of making echoes a kind of writing, though in previous works Joung has explored this connection explicitly, literally writing with clay slip: the texts becoming a collection of individual objects. The limitless possibilities of words rearranged in relation to one another, again explores the notion of repetition and singularity.
Foucault speaks of language as "...a fragmented mass, its enigma renewed in every interval, which combines here and there with the forms of the world
and becomes interwoven with them: so much so that all these elements, taken together, form a network of marks in which each of them may play, and does in
fact play, in relation to all the others, the role of content or of sign, that of secret or of indicator".5
Most of the objects in this series are constructed from stick-like pieces of ceramic. All of these groups are in some way contained, either in everyday objects,
in their soft bindings or in the precarious balance of their form. The pieces titled Thicket present dense collections, some bound together with elastic bands
oth ers in a type of wool. In its definition, 'Thicket' suggests a defined area of growth, somehow independent of its surroundings.
The elastic bands create a flexible restriction, like ligaments, providing the
strength and tension for the groups to stand. Those bound in yarn are held more tightly, but acquire a hazy definition in their soft exterior.
Containment provides a resolution of sorts, enabling both beginning and end, though simultaneously the work has neither. Other pieces make use of found containers all of which show traces of use, which become vessels both for their past and the new stories they now contain. It is, then, apt that this work is presented in a space that was formerly a Church, the building itself a container and vessel.
A memorial tablet on the wall is inscribed with the words "Until the day break".
It is evocative of this dual sense of past and future, reflection and anticipation. Within the architectural space, the objects are presented at eye level, where they look directly back at the viewer suggesting their containment of a psychological
One, small piece in the Day Collector series, takes a found tin and binds it with a continuous loop of hot glass. The process is direct, and it is with this ease and simplicity that Joung manages to contain a complexity of thoughts.

In many ways these thoughts lead back to the title and the idea of something mute - something unheard or unsaid, just as Joung describes the process of
kneading "forgotten words" into the clay. There is a silence in writing, of speaking without sound.
The physical remains of writing, whether ink on a page or the manipulation of other materials, may be returned to again and again, to be experienced in new ways.
Mute-Scape succeeds as a similar place for return and departures.

1. Taken from Mimi Joung artist statement 2006.
2. Baurillard, Jean. The System of Objects. Translation by
James Benedict, Verso, London, 1996 (first published as
Les syste'mes des objets, Edition Gallimard, France, 1968).
3. Drawing on theories explored in Baudrillard, Jean,
Fragments. Translation Chris Turner, foreward by Mike
Gane, Routledge, London and New York, 2004 (first
published as D'un Fragment L'autre, Editions Albin
Michel S.A, Paris, 2001.
4. Taken from Mimi Joung artist statement 2006.
5. Foucault, Michel, The Order of Things, Routledge, Lon-
don, 2002. (first published as Les mots et les choses, edi-
tions Gallimard, 1966).

Phoebe Cummings is an artist and writer based in the UK.

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