Lifestyle
Inspired by her dog, this L.A. ceramist makes beloved pets 'eternal'
Ceramic characters, each with their own whimsical charm, gaze from various angles in Rami Kim’s studio. Built by hand, their faces emerge from planters, ceramic dishes and slip-cast mugs like the cast of an animated Hayao Miyazaki movie. On a shelf, a customized dog figurine — a client’s beloved terrier — lies on its stomach atop a lilac-colored butter dish. Nearby, a retriever, in a seated position, rests on a woman’s head.
“I like the idea of giving life to the objects I create,” Kim said, standing in her garage studio. “They’re my imaginary friends.”
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in Los Angeles.
Some of her sculptures have names, each a tribute to the inspiration behind them. There’s the Penelope table lamp, where a mysterious, almost melancholy face base is adorned with a glass globe. And there’s Gus, Kim’s beloved white Maltese, who was her constant companion for 17 years until his death in 2023.
“I spent my 20s, 30s and part of my 40s with Gus,” she said softly before adding, “I miss him.”
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Kim was sculpting a life-size Gus lamp at her work table the other day when a smile suddenly illuminated her face. With each detail of his fluffy coat, she seemed to be acknowledging the dog who brought her so much joy, infusing the lamp with the same warmth and happiness as her constant companion.
“People like to have something functional that they can use every day,” Kim said of her character-driven works.
“Gus was my family,” said the 43-year-old artist as she painted the dog’s eyes and nose. “He was a sweet boy with a gentle personality. During the pandemic, it was so helpful to have him near me when life was so uncertain.”
Born and raised in Seoul, Kim studied character animation at the California Institute of the Arts (CalArts). After earning a master of fine arts from the UCLA Animation Workshop, she secured a job as a background painter for Nickelodeon’s “Dora the Explorer” and the independent animation company July Films, where she worked on her former CalArts professor Mike Nguyen’s 2D-animated feature film “My Little World.”
Gus accompanied her.
“I want to make work that people can touch and hold,” said Kim, a former animator.
Kim smiled, remembering how her colleagues embraced Gus. “I would bring him to work with me every day,” she recalled. “Everybody liked to greet him and was so happy to see him. He would sit under my desk on his dog bed while I worked at the computer.”
Kim was still working in animation when she first tried ceramics at Ball Clay Studio in Highland Park, which is now closed. “I started making these little figurines as a product for stop-motion animation,” she said, holding two floating faces. The transition from the digital world to the tactile process of ceramics was a turning point in her artistic journey.
A selection of works inside Kim’s ceramics studio near La Crescenta.
“I still remember when I first touched the clay,” Kim said. “I was like, ‘Oh, my God. I need to keep doing this.’ I loved working with my hands. The possibilities seemed endless. I just knew that I would be doing ceramics for the rest of my life, as I would never get bored with it. And I get bored easily.”
It grew from there.
Coming from an animation background, where she learned the art of bringing characters to life, Kim said she “always wanted to create characters in a different form. That’s how I give life to my ceramic creations.”
Adding faces to her vessels made Kim feel like the pieces “now have a life.”
She started to turn her organic vessels into faces, complete with eyes and lips. “That made me feel like they had a character,” she said. “The sculptures now have a life.”
When she grew weary of sitting at a computer all day long doing animation, Kim decided to pursue ceramics full time, working out of a studio in Atwater Village and later a garage studio next to her rental home near La Crescenta.
Nguyen, her former CalArts professor, isn’t surprised to hear she has an emotional attachment to the characters she creates.
“We as humans are very much interested in each others essences, thoughts and feelings,” he said in an email. “Character-driven work is one focus aspect of the overall experiences of being alive. It is not necessarily coming directly from her work as an animator, but from the people she has met, the friends in her life and her family.”
A ceramic home depicts Kim and her dog, Gus.
With people worried about a possible recession, Kim has seen customers hesitate to spend money on her works, which cost between $50 for a mug to $1,800 for a customized lamp. So she started creating custom animal figurines for clients, many of whom, like her, have lost their pets. “People share their stories about the past,” she said of the process. “They share photos of their pet and tell me their favorite poses, which helps me sculpt them. I feel like I know the pets. It’s very special.”
Eileen O’Dea — who commissioned Kim to design a figurine of her late dog, Owen, a mixed pup she found on the street near her West L.A. woodshop — talked about the profound emotional resonance of Kim’s work. “It’s the kind of object that blurs the line between beauty and memory,” O’Dea said of the butter dish Kim made her. “It looks just like him; even his floppy ear is perfect. Every time I use it, I’m reminded of him.”
Another customer ordered two custom figurines as a gift for her sister who had just completed nursing school at the age of 60. “Her dogs had helped her get through it,” Kim said. “It was such a touching story to be a part of.”
“Hopefully Gus is running around with other dogs having a good time,” Kim said of her late dog, Gus.
The tactile nature of her work is something she hopes to share with others. “I want to create work that people can enjoy and touch and hold,” she said, adding, “I hope my work gives people a warm feeling.”
Yes, it’s hard working for yourself, she said, but Kim likes the flexibility of being able to work anytime she wants or take a day off to wander a museum or see a movie. However, after she relocated her studio from Atwater Village, where she shared space with other artists, to her home in La Crescenta, she admitted to feeling isolated.
“I miss having a community and visiting with studio mates. I feel like I learn so much from other people. That’s why I host workshops here in my studio,” said Kim, who enjoys teaching. “As an independent artist working alone, it’s tough because I don’t want to work too much in the wholesale business because then I would need a team and more orders, and then I would have to operate like a factory.”
“It makes me happy when people share stories about their pets with me,” Kim said.
Kim’s ability to capture the unique personality of each pet in her ceramics provides solace to clients who have lost their pets. (Rami Kim )
Still, she can’t see herself going back to computer work. “I’ll never get bored with this,” she said. “I can do this until I’m 90. I’m having so much fun.”
Kim’s understanding of the comfort her ceramics provide to those grieving the loss of a pet is not just professional but deeply personal. She has experienced it herself in her studio, home and garden, where she is surrounded by the “friends” that she has created.
“When I put the Gus lamp on a table in my living room, it feels like he is sitting next to me,” she said. “He’s eternal now.”
Lifestyle
After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.
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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today
From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.
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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.
Scenes from the new installment feel almost too recognizable to many doctors.
The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.
Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.
Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.
So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.
That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.
To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?
I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.
OK, but is every shift really that chaotic?
I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”
As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?
There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.
Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?
I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.
If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.
As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.
Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.
The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.
2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?
I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.
There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.
In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?
The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.
The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.
A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?
Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.
Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.
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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?
Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.
But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”
The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.
Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.
In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.
There are so many more themes explored this season. What else should viewers look forward to?
I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.
I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.
But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.
Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.
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