Every inch of Jiha Moon’s creations is an opportunity for discovery

With an accomplished artistic career spanning more than two decades, Jiha Moon has earned respect thanks to the impeccable skill displayed in her ceramic works. Her new exhibition, “Ten Moon,” on view at Atlanta Contemporary through Dec. 21, delivers this expected brilliance in spades.

And yet, the most profound discovery in the gallery is not an affirmation of what Moon is known for but rather a powerful testament to the equally commanding presence of her painted and mixed-media wall pieces. Ultimately, “Ten Moon” reveals an artist whose command of two-dimensional art forms is as noteworthy as her recognized prowess in the three-dimensional.

"Blue Hetae" depicts the legendary Korean lionesque creature that is said to protect against fire disasters. (Courtesy of Kevin Storer)

Moon’s ceramics — which offer recurring motifs of peaches, pot stickers and bananas — are rendered with breathtaking precision. The freestanding works, although relatively few, are arresting, a fact that threatens to obscure the artist’s equally powerful works on the surrounding walls. 

The confidence and vibrancy of Moon’s paintings are especially evident in “Blue Haetae,” a work depicting the legendary Korean lionesque creature that is said to protect against fire disasters. The composition glows with electric outlines of symbols around the central figure, affecting a unique aesthetic fusion — uniting a sort of celestial energy, the urban illumination of neon lights and the graphic punch of a tattoo flash sheet.

The entire piece is executed on hanji, a traditional Korean mulberry paper with subtly ruffled and earthen texture that provides the perfect grounding for Moon’s contemporary vision, anchoring its otherworldly aura with a tangible, material grit.

On closer inspection, the works reveal a staggering density of detail. Moon ensures that every inch of a piece is an opportunity for discovery. Intricate miniature paintings can be found on any individual ceramic, which are each flawless sculptures in their own right.

These meticulously rendered works are themselves frequently placed on shelves affixed to larger painted worlds, creating nested realities where sculpture and painting are in constant dialogue.

With Moon’s work, there is always more to see, and this lavish attention to detail transforms each work into a universe of its own. It would be impossible to take in every detail in a single visit.

With "Moon Shrine," individual ceramics are placed on shelves affixed to larger painted worlds. (Courtesy of Kevin Storer)

Here, moments of pure artistic abandon are juxtaposed against the immaculate execution of her ceramics and the steady line work of her paintings. The browning decay on a ceramic banana peel or the thick, globby applications of yellow paint on her shrine pieces showcase a willingness to move beyond rigid adherence to traditional prettiness.

The expertise that radiates throughout the exhibition reminds the viewer that this looseness is not an error but rather a gesture of playfulness — a sign of an artist so in command of her practice she knows when and how to let go. 

Beyond remarkable aesthetics and excellent technique, what elevates the exhibition is the unique way Moon builds on traditional Korean aesthetics to advance contemporary artistic discourse. Although many artists reference their own backgrounds in their work, Moon has avoided the trap of allowing tradition to limit her vision. Korean visual language is treated as source material for an original, generative artistic practice in which tradition is an opportunity for creation, not a constraint.

It is difficult to find a meaningful criticism when even “Ten Moon’s” quieter moments would stand as highlights in almost any other exhibition. The show arrives at a significant moment for Atlanta Contemporary, serving as a reminder of the caliber of artist it has long attracted. Notably, its success is also a curatorial one, a credit to both Youmi Efurd’s thoughtful installation and the ambitious vision of former Atlanta Contemporary Director Veronica Hogan, who secured the exhibition.

“Ten Moon” is a triumphant showcase, leaving one excited for the future of Jiha Moon’s artistic evolution and hopeful for the institution that has brilliantly displayed her work.

IF YOU GO