Jaeeun Kim is a Korean-born ceramic artist based in London. Her work revolves around creating porcelain vases and ceramic objects infused with emotion and memory. She draws inspiration from the House-Tree-Person (HTP) idea from art therapy, using it to explore themes of home, healing, and self-discovery. Each piece carries a story, a quiet bridge between past, present, and the heart. Each piece begins with a simple form, either handbuilt or slip-cast using moulds she makes herself. The surface is then decorated with a combination of hand-painted underglaze and handmade ceramic transfers. Kim makes all her own underglaze colours, which allows her to develop a distinct palette and layering style. These are applied using fine brushes, often building the surface gradually with soft, painterly marks. The interiors of the vessels are glazed, making the work functional as well as expressive. A key influence in her work is the House-Tree-Person (HTP) method from art therapy, which Kim encountered during her studies in psychology and art therapy in Korea and the UK. She uses it as a visual and conceptual reference—not for analysis, but to guide the imagery and composition. Themes such as shelter, distance, memory, and quiet observation emerge throughout the work, especially in her ongoing series The Way Home. These pieces are rooted in early memories of walking home from school, observing trees, wind, changing light, and the feeling of transition between places.Rather than illustrating exact scenes, Kim aims to express the emotional traces left by those moments. Her working process is slow and intuitive. Decoration often evolves directly on the form, and she leaves room for change and response.The firing process is carefully controlled through repeated testing, allowing her to create a wide range of colours and combinations with intention. Each result is part of a planned, thoughtful process rather than chance. Kim's work balances functional form and narrative object. While many pieces can be used, they are also made to invite quiet reflection and personal interpretation. She sees her practice as a way of shaping not only clay, but also time, memory, and emotional space.