Michelle Im

How did you get into making art?

I started drawing at an early age. My father, who painted with watercolors as a hobby, took me outdoors to paint with him. When I was nine years old, I learned that one could become a professional artist. I was taking a clay animation class at the Museum of Fine Arts in Boston, MA where I was exposed to artists sculpting figures out of clay. That was when I understood that I wanted to become an artist.

What are you currently working on?

I’m currently building a large figure of a server holding five pitchers in one hand arranged like a bouquet.

What inspired you to get started on this body of work?

I’m inspired by people I crossed paths with while working in the hospitality industry. The shared camaraderie that emerges through the struggle of labor and the social bonds formed in these environments inspire me to make work that brings visibility to society’s invisible labor. I’m particularly interested in performative labor roles, such as serving, and in capturing the absurdity of the repetitive movements that make up these jobs.

The particular pose I’m currently working on draws from real life. There is an element of showmanship in how workers perform even the smallest tasks—such as collecting water pitchers at the end of the night and developing tricks to gather them all in one hand. Athleticism and competition become an unexpected part of manual labor. And I find this both aesthetically absurd and endearing, revealing something about the human spirit.

Do you work on distinct projects or do you take a broader approach to your practice?

I usually have a variety of ideas that I’m thinking through, but I tend to actively work on only one or two projects at a time. Ideally, I prefer to focus on one project at a time so that I can become fully immersed in the idea. The ceramic process is also time-consuming and labor-intensive, so moving back and forth between projects can be challenging and disrupts my focus and attention to detail.

What’s a typical day like in your studio?

I’m a person of rituals and routines. I start my day early and like to have a few hours at home to mentally prepare before heading into the studio. My studio is about a 20-minute walk from home, and I find the walk meditative—it loosens me up before I begin working. When I arrive at the studio, I always start by making tea and finding a good techno set or hip-hop album to listen to for the day. I work most intensely in the afternoon, usually for several focused hours before it’s time to head out. I try to take advantage of natural light as much as possible.

Who are your favorite artists?

This has changed throughout my life. When I was first exposed to art as a child, my favorite artist was Mary Cassatt. I think I was drawn to the tenderness of her mother-and-child imagery. Later, after my undergraduate studies, I pursued painting before ceramics. During that period, I was interested in abstraction and particularly loved the work of Gerhard Richter. I still love both artists, but because I work in an ancient medium like clay, I find myself more inspired by collective ceramic traditions than by individual artists. Ceramic histories hold so much information about human history, and I’m fascinated by the ways those histories are embedded in objects. The Terracotta Warriors of Xi’an, China, for example, are a source of inspiration for me today.

Where do you go to discover new artists?

I’m lucky to live in a city where there are more exhibitions than I could ever possibly see. I’m always encountering new artists throughout New York City.