Inhye Ji
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Available now
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Inhye Ji
Bunch Floor 01, 2026Resin, silicone, steel, concrete, melted masses, LED bulbs
H. 210 x W. 55 x D. 45 cm
H. 82 5/8 x W. 21 5/8 x D. 17 3/4 in
Approx. 30kg -
Inhye Ji
Bunch Chandelier 04, 2026Resin, silicone, steel, LED bulbs
H. 145 x W. 360 x D. 53 cm
H. 57 1/8 x W. 141 3/4 x D. 20 7/8 in
Approx. 50kg -
Inhye Ji
Bunch Chandelier 02, 2025Epoxy, steel wire, LED
H. 140 x W. 75 x D. 75 cm
H. 55 1/8 x W. 29 1/2 x D. 29 1/2 inches
Approx. 30kg -
Inhye Ji
Bunch Chandelier 03, 2026Epoxy resin, silicone, steel, LED bulbs
H. 160 x W. 55 x D. 60 cm
H. 63 x W. 21 5/8 x D. 23 5/8 in
Approx. 30kg
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Biography
Born in rural South Korea, Inhye Ji spent her early childhood living with her grandmother before moving to Busan, where she began studying art from a young age. Quiet by nature, she often found it easier to communicate through drawing than through words, developing an early sensitivity to observation that continues to shape her artistic practice.
Ji attended a specialist design high school before studying Visual Communication Design at university. Following graduation, she worked within fashion and branding, exploring a variety of creative disciplines while searching for a practice that felt personally meaningful.
A significant turning point came in 2023 when she joined Onion Company and became involved in projects for Fabrikr and Chicory. Through the development of works for Chicory Hotel, she discovered a deeper connection to object making and began to recognise sculpture as the direction she wished to pursue independently.
Since beginning to work with epoxy resin in 2024, Ji has developed a body of work centred on growth, support and transformation. Initially drawn to the warmth she perceived within an aged block of yellowed epoxy, she became fascinated by the material’s ability to record time, gravity and chance within its structure.
Her sculptures emerge from observations gathered in everyday life. Fragments of branches, grape stems after their fruit has been eaten, seasonal change and subtle shifts in light become points of departure rather than subjects for direct representation. These experiences are collected through sketches and notes before gradually evolving into new sculptural forms.
Working with epoxy resin and light, Ji creates organic structures that appear to lean, cluster and support one another. Rather than seeking complete control over the material, she allows gravity, trapped air and the curing process to contribute to the final work, embracing these characteristics as an integral part of its development.
Today, Ji continues to expand a practice that investigates the relationships between material behaviour, natural processes and human experience through sculpture illuminated by light.
