Kara Chin

‘The Park is Gone’ 2022 glazed ceramic, 130 x 80cm Exhibiting this week at @asianow with @hatch_paris !!

Lucky, 2023, 90 x 50 x 60cm, mixed media Images 1-4 by Rob Harris

⏱⏱⏱It’s the final week to see a load of salt dough delights in ‘YOU WILL KNEAD’ @vitrinegallery !! (Irl- their digi cousins will be lingering on at VITRINE, digital) Photos by @harleywpkc ❤️

Pity Petty is now open! Thank you to everyone who joined us this week for the opening and for their support of Kara Chin and Romain Sarrot. The show is on view until May 30. Pity Petty draws on the subculture of gooning, an image-saturated, ritual-driven online phenomenon. Rather than depicting it directly, the artists approach the gooncave as a liminal space between digital and physical, solitary and communal. Bathed in blue light, the exhibition unfolds through ceramic sculptures and bas-reliefs, forming a fragmentary language of symbols and atmospheres. Exhibition view © Pauline Assathiany

Tomorrow is the opening of Pity Petty, a duo exhibition by Kara Chin and Romain Sarrot at Hatch Gallery. Join us from 6 to 9 pm. On view from April 22 to May 30, the exhibition looks at how contemporary internet systems produce looping states of attention and desire, where users are drawn into increasingly repetitive forms of engagement and affect. A key reference is “gooning,” understood here as a prolonged mode of screen immersion built on repetition, escalation, and sustained stimulation, where attention becomes both absorbed and immobilized. Framed within the exhibition as a structural condition rather than a subculture, it points to how digital environments can organize perception through rhythm, fixation, and return. Kara Chin, The Goone State, 2026 © Pauline Assathiany. Courtesy of the Artist and Hatch Gallery.

Hatch Gallery is pleased to present ‘Pity Petty’, a duo exhibition by Kara Chin and Romain Sarrot, opening on April 21, from 6 to 9 pm, and on view until May 30, 2026. @karachin @romainsarrot The exhibition explores how contemporary internet architectures shape behavior, desire, and identity through feedback loops, affective aesthetics, and hyper-mediated environments. More information to follow. 🐈

Last year I showed these works at FACT as part of the Liverpool Biennial 2025. Here are some studio pics from when I was working on them The sculptures are carparks from Liverpool having a fight, there’s a longer text you can find on the FACT website if you‘re interested Thank you so much to everyone at @fact_liverpool and the @liverpoolbiennial it was such an honor and a pleasure to work with you all xx And to @newbridge_workshop for fabricating the carpark bases and @eleanorlmpalmer for your wonderful assistance

Kara Chin Our Father  2026 Digital Animation and Sound, shown on a picture frame monitor 00:01:45 Kara Chin (b. 1994, Singapore) is an artist working across ceramics, animation, sculpture, and installation. Her work explores technological, ecological, and emotional systems, where they break down and collapse into each other. Chaotic layers of fragmented references mirror the frantic, non-linear ways that we consume information today, Drawing on speculative fiction, internet detritus, cinema tropes, and domestic media, her installations often suggest quasi-religious ceremonies, where everyday objects and mundane encounters are transformed into artefacts, misfiring rituals, or theatrical hybrid creatures.
 Chin holds a BA in Fine Art from The Slade School of Fine Art (2018). She was featured in Bloomberg New Contemporaries (2018) and has received the Woon Foundation Painting and Sculpture Prize (2018), the Duveen Travel Scholarship (2018), the Alfred W Rich Prize (2017), and the Max Werner Drawing Prize (2015). Her work is held in the Arts Council Collection and the Government Art Collection, UK. ‘Bling!’ continues until 31 January, and is open Thurs-Sun, 12-6pm at Soup, 227 East Street, SE17 2SS.

At DYNE @galleryartdyne , Kara Chin @karachin turns ceramics into coded relics of our technological age. Her glazed stoneware panels hum with tension—half shrine, half circuitry—blurring the line between sacred and synthetic. Humor and anxiety fuse in objects that seem alive, glowing, or quietly watching. Read our full feature, Ceramic Highlights: Salon Art + Design 2025, now on MoCA/NY. Subscribe in bio. Images: DYNE Installation at Salon Art + Design 2025 | Photo courtesy: DYNE DYNE Installation at Salon Art + Design 2025 | Photo by: Sam Jeon Kara Chin | Negative Energy Released from the Big Stone Egg | 2025 | Glazed stoneware ceramic, pigmented grout, gold leaf, wall bracket in painted timber and resin | 31 x 23 x 4 cm | Photo courtesy: Kara Chin Kara Chin | Spider Lily Suspended in the Therapy Room | 2025 | 34 x 23 x 4 cm | Unique glazed stoneware ceramic, pigmented grout, wall bracket in painted timber and resin | Photo courtesy: Kara Chin Kara Chin | Daily Toxins ooze out of your pores leaving you shining like new | 2025 | Glazed stoneware ceramic, pigmented grout | 16 x 15 x 2 cm & Embrasure | 2025 | Glazed stoneware ceramic, pigmented grout | 16 x 13 x 2 cm | Photo by: Sam Jeon Kara Chin | Letting Off Steam | 2025 | Glazed stoneware ceramic, pigmented grout, wall bracket in painted timber and resin | 28 x 21 x 4 cm & Glowing Internally | 2025 | Glazed stoneware ceramic, pigmented grout | 13 x 10 x 2 cm | Photo by: Sam Jeon . . . . . . #DYNEGallery #KaraChin #SalonArtAndDesign #ContemporaryCeramics #CeramicArt #ClayArt #TechnoMythology #DigitalEcologies #HybridArt #MoCANY #StudioCeramics #DesignFair #ArtFair #ModernCeramics #InternationalArt #CraftandDesign #陶芸 #美術 #サロンアートアンドデザイン #ニューヨークアートフェア

Look closer:🔍️Kara Chin ⁠ ⁠ At FACT, Kara Chin presents 'Mapping the Wasteland: PAY AND DISPLAY', 2025. This new multimedia installation, inspired by Manga and apocalyptic video game graphics that explores rage, grief and nuisance. The artist draws on repeated motifs such as seagulls, parking meters, and the seemingly invasive Buddleia plant, often found in cities, including Liverpool.⁠ ⁠ The installation amplifies low-level and everyday annoyances such as pests, weeds and city centre parking charges, transforming them into almost theatrical or comical over the top explosions of anger. Through doing so, she references how newspaper headlines often exacerbate stories into insidious narratives for clickbait.⁠ ⁠ Along Berry Street, the artist presents 'Mapping the Wasteland (trail)', as a 'breadcrumb trail' of tiles set into the pavement for passers-by to discover. She refers to these intricate works as ‘litter fossils’ as they reference common sights and objects found in cities such as takeaway cartons, seagulls and other city detritus. ⁠ ⁠ ⁠To find out more about LB2025 artists and venues, head to biennial.com/2025 or click the link in our bio🔗⁠ ⁠ -⁠ ⁠ [Alt text: (1-3) A multimedia installation that includes lightboxes and mixed media sculptures⁠ in a dark room with blue and red lights (4) A concrete slab with a colourful plastic cup made from ceramic embedded into it and people walking past it (5) A close-up of concrete slab with a colourful plastic cup made from ceramic embedded into it and people walking past it. (6) A concrete slab with a colourful bottle and can made from ceramic embedded into it]⁠ ⁠ 📸: (1&3) Mark McNulty. (2) Stuart Whipps. (4-6) Rob Battersby.⁠ ⁠ Courtesy of the artist and LINSEED. Co-commissioned by Liverpool Biennial and FACT Liverpool, with support from Suling Mead.⁠

Some ceramics I haven’t shared yet!

@karachin 's 'Awakening Ceremony' forms part of a larger body of work that explores the Transhumanist movement in Silicon Valley; those who believe that humans will one day be able to - and should - merge with technology in order to live forever 🤖 The animation takes place in the distant future within a fictitious Cryogenic facility, where Transhumanist bodies are frozen in limbo until the technology to revive them is invented. It imagines a group of domestic cleaning robots left to run amok in the long abandoned and deserted facility. The robots have gradually developed their own belief systems based on the information left to them, comically mistaking the conference coffee urn as an object of worship - the elixir of life ☕ The animation shows the robots performing a ritual in which they make a bullet-proof coffee, as an attempt to revive the frozen transhumanists. It is intended as a playful questioning of the utopian potential of artificial intelligence and biohacking technologies, while linking contemporary wellness and lifestyle culture to the pervasive, and fundamentally human, fear of death. Welcome to the Collection Kara! #ArtAcquisition #Acquisition #AcquisitionAnnouncement #ArtCollection