Page 36 - Winter Issue

Your work often involves reimagining historic forms, like Tudor portraits and traditional Chinese vessels.
What draws you to these particular historical and cultural references?
I first encountered portraits from the Tudor era at the Tate Britain Museum, and they left a profound impression on me.
Specifically, the figures in these Tudor portraits often appear stiff, with standardized expressions and even similar facial
features. However, their clothing is intricate, ornate, and highly decorative, giving me the impression that the people in
the paintings resemble objects.
Regarding traditional Chinese vessels, I believe that my extensive museum visits, combined with the critical thinking skills
I developed at UAL, have given me a renewed understanding of Chinese history and culture. My works reflect my
reverence for and appreciation of classical Chinese art. I aim to recreate these traditional themes while offering a fresh
perspective.
In your series based on Tudor-era female portraits, you humorously objectify the women depicted by
transforming their garments into vessels. How do you think humor changes the viewer's perception of
gender roles in your work?
After researching and thinking about those paintings, I formed an interesting opinion. Specifically, the paintings reflect
those noblewomen of that era used clothing and jewelry to display wealth and status, suggesting that personal choices
within this social trend might involve a kind of 'self-objectification.' Thus, I transform these 2D images into 3D objects,
which is also a form of 'objectification.' However, I don’t intend for the work to come across as harsh criticism; rather, I
want viewers to see and reflect on this phenomenon. That’s why I chose a subversive—or even humorous—approach to
present these figures. I hope this will make people more open to engaging with the questions raised by the work.
You’ve noted that your work challenges the hierarchy between “fine art” and “decorative art.” How does
this idea influence your creative process and the way you present your ceramic pieces?
Yes, essentially, I want to make the work more engaging. Traditionally, painting is considered fine art, while vases are
viewed as decorative art. Therefore, in the creative process, I chose not to transform the portraits into busts; instead, I
omitted the figures' bodies, turning them into 'vases,' which are characterized by being hollow. This further emphasizes
the concept of ‘objectification.’
How does your background in Chinese ceramics and your experience in London inform your perspective
on the cross-cultural fusion evident in your art?
I actually began working with ceramics during my studies at UAL: Chelsea College of Arts. It is widely known that China
has a rich tradition in ceramic art, and I believe this cultural affinity sparked my interest in historical Chinese ceramics
from a young age. Coming to London broadened my perspective; the museums here first expanded my view to
encompass all of East Asia, where I found the ceramic arts of Korea and Japan both fascinating and familiar. Ultimately,
this experience led to a broader interest in classical art from civilizations around the world. London's museums have
provided me with a new perspective, showcasing classical art from different civilizations and eras, which has fostered a
cross-cultural comparison in my mind. I hope to reflect this sense of cultural fusion and mutual influence in my work.
How do you approach combining distinct traditions into a cohesive piece?
My references to ancient Roman pottery primarily focus on materiality. I use a type of red clay commonly known as
Terra-cotta, which was widely employed in ancient Greek and Roman cultures. Additionally, I aim to achieve the high-
polished effect characteristic of ancient Roman red pottery (Terra sigillata). The shapes of my works draw inspiration
from elements of Chinese culture, such as the Hill Censer from the Han Dynasty (starting in 202 BCE) and tripod pottery
from China's Neolithic period.
The use of Urushiol lacquer and polishing wax instead of traditional ceramic glazes is distinctive in your
work. Could you share what motivated this choice and how it enhances your pieces?
The techniques for achieving the high-polished effect of ancient Roman pottery remain a mystery to me, so I am
exploring alternative methods to realize this effect, hoping to develop my unique working processes along the way. I was
inspired by the technique of polishing marble tiles with wax, which led me to experiment with this material.
Regarding Urushiol lacquer, its use originated from a suggestion by another artist, Xiaoyu Li (Sho-Woo Lee), who also
provided technical support for this body of work. Urushiol lacquer is a traditional natural material from East Asia,
commonly referred to as Japanese lacquer, Korean lacquer, or Chinese lacquer. I prefer the term "Urushiol lacquer" for
its universality. I chose this material to reflect my respect for traditional techniques and natural materials, and its
refined translucent amber color enhances the textures I create on the surface of the clay.

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