Page 124 - Winter Issue

Could you share how you approach working with negative space, and what role it plays?
In my work, negative space embodies the hidden power of "non-being"—a space that is empty yet brimming with
potential. By employing negative space, I draw attention to the often-overlooked vitality within the void. It serves not only
as a visual element but also as a philosophical expression, allowing viewers to explore the energy and transformation
that lie within the unseen spaces of each piece.
Your artist statement speaks about the cyclical process between "non-being" and "being." How does this
cycle influence the physical techniques you use, such as forming and firing clay?
The cyclical process of "non-being" and "being" is directly reflected in my techniques. The transformation of clay—from
soft and malleable to firm and permanent—parallels the journey from "non-being" to "being." During firing, I embrace
the fluid and unpredictable nature of glazes to capture the organic shift from "non-being" to "being." This
unpredictability mirrors the Daoist view of natural transformation and cycles, where change is both inevitable and
dynamic.
How has your doctoral research at the University of Sunderland contributed to your practice?
My doctoral research at the University of Sunderland has provided a strong theoretical and practical foundation for
exploring "non-being." Studying both Daoist thought and Western art perspectives has deepened my understanding of
how "non-being" can be expressed across cultural contexts. This interdisciplinary approach has enriched my work, giving
me the confidence to articulate the essence of "non-being" through a cross-cultural lens.
How do you balance form and formlessness, presence and absence, in your ceramic works?
I balance form and formlessness by incorporating both solid forms and negative space. While the tangible aspects of
clay and glaze represent "being," the empty spaces and transparent materials suggest "non-being." This balance reflects
the yin-yang relationship in Eastern philosophy, creating a visual tension where the works feel both grounded and
weightless, inviting a harmonious interplay between existence and absence.
What is the experience you wish to create?
When viewers interact with my work, I hope they experience
a serene atmosphere infused with a subtle vitality. By
exploring "non-being," I aim to move beyond surface-level
perception, inviting viewers into a contemplative state
where they can feel the flow of natural forces. I want them
to sense the rhythm within the forms and become aware of
the invisible world that lies beneath the surface.
Do you hope that viewers will interpret "non-being"
in their own way, or is there a particular message?
I encourage viewers to interpret "non-being" in their way,
finding personal resonance within the work. While "non-
being" has specific philosophical roots, I believe each
person can approach it from their unique perspective. My
goal is to convey a sense of potential and transformation,
but I leave the final interpretation to the viewer’s
experience.
Looking ahead, are there other aspects of Eastern
philosophy or new techniques you’re interested in?
In the future, I am interested in exploring other Eastern
philosophical concepts, such as "emptiness" and
"tranquility," and in merging these ideas with new
techniques. I’m particularly drawn to further exploring the
interplay of glass and ceramics. Additionally, I plan to
experiment with dynamic elements to express the constant
movement and fluidity of "non-being." I believe my practice
will continue to evolve into a multidimensional
representation of these philosophies.

124 Echoes of Serenity - Porcelain & glaze, 26x22x20cm, 2024