st. vincents



February 10, 2020 Henri
The tennis court outside the window of the studio where I live has become a place of projection within which I relate to myself. And as I place myself in the countless parabolas continuously drawn by the players, I wonder if the ying ball could be considered stable or does the intrinsic state of movement create instability to the ying ball and thus also to all situations in movement, including my own?
Maybe it is a question of repetition – the inherent repetition of movement, here in the shape of a parabola, where I can sense the freedom I always wanted?
– Artist’s note


Semi Kim, is a Parisian based artist that blurs the lines between the genres of drawing and painting. She creates architectural landscapes by combining different techniques and mediums. Her signature works are created by drawing, tearing and collaging with pencil, ink and glue. Her works tell the tale of tranquil, simple and yet touching moments in life. Moments that go unnoticed though experienced by each one of us.

Semi’s formative years began in her home city Seoul, South Korea, where she studied Fine Arts. Later she moved to London to study at the prestigious Central Saint Martins College of Arts. Theatre allowed Semi to free herself from the strict Korean traditions, superstitions and studio methodology. Liberated, Semi began to design, direct, work harder and draw more.

Daily, Semi reserves time to draw and archives her thoughts and ideas for the right moment or piece. Previous works included photocopies of drawings she has used or discarded as part of other works. These older or reused pieces bring life to newer pieces. This process became a blueprint to the architecture of Semi’s thoughts.

Blue is the predominant colour you will find in the majority of Semi’s works. Often involving several layers, her cool blue often emphasises the power of negative space drawing the viewers attention to her architectural landscapes; playing with our senses of geometry, space and feeling of time and freedom.


Known for her animistic collection of moody blue faces on white glazed stoneware, Japanese artist, Madoka Rindal, creates objects such as cups, plates, bowls and vases that evoke humour and build on a sense of intimacy and affection with the holder. 

Currently based in Paris, Madoka was born and raised in Tokyo and she later moved to Paris to complete her studies in applied arts. After a 10 year career as a graphic designer she found in clay a new medium to express herself. 

Her works are greatly influenced by wandering the streets of Paris and quietly observing people going about their everyday lives. She chose to represent honest utilitarian objects because of their intrinsic sense of beauty. When they serve their purpose and meet our expectations they become our trusty and reliable companions. Over time and with use, they provide a sense of familiarity and comfort and with age they tell a story of affection. 

Nowadays, we give little notice to the relationship we have with the objects we surround ourselves however, Madoka’s moody ceramics appear animated and enables a certain humanistic interaction.