Replication of Creation
We all live in repetition. Rather, we ourselves originate from repetition - a genetic, cultural, aesthetic and philosophical repetition.
repetition serves not only as a technique to express an artistic form, but also as a methodology to explore cultural identity and social values.
For me, working on ceramics and Marbling techniques is a reflection on traditional crafts and contemporary art, as well as an inquiry into my own culture and history. I will focus on the repetitiveness in different fields and crafts, and embody the difference and uniqueness in the cycle of repetition through artistic creation, as a way to generate and create new meanings and values.
Matters Within
Glaciers, rocks, magma, clays and ceramics, they are substances that are constantly in action and being generated, just like us. They have a longer timeline, a different destiny and future. I long to understand inorganic matter as much as I want to understand my own existence. What can we see in the midst of matter?
I hope to answer this question through art. This journey involves a rethinking of geology, biology and aesthetics in matter, an excavation of the hidden connections between the material world and artistic expression, with the aim of exploring how the material world around us can be transformed into an aesthetic object that embodies the essence of our existence.
Path of Patterns
“Path of Patterns” takes the Jiao Tai (marbled clay / agateware) technique as a guiding thread, unfolding as a research-based social practice concerned with the circulation of craft, local life, and collective memory.
Tracing Jiao Tai’s migrations across China and overseas since the Tang–Song period, I return to its places of origin and to rural sites where the practice still continues.
Through fieldwork, archival and literature research, exhibitions, and public lectures and conversations, I reorganize craft experiences—those long vanished as well as those still surviving—into a historical narrative that can be read.
How the past shapes us, and how we remember the past, is like the texture embedded within a clay body: it emerges through repeated kneading, slicing, and reassembling. Through contemporary making, this project seeks to continue an interrupted craft narrative, allowing tradition to become active again within lived reality.
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