黃靜儀
Jenny Wong

work-in-progress

It began with a hunch that became a two-month daily ritual of working by the wheel, firing up the kiln and discovering what the kiln god presented me, leaving me with awe and motivation for further exploration.

It is now a self-reflective project where I see no completion.

I want to reflect on the theme of transience -- a state of being, a state of mind.

I want to make sense for myself what it means to be a nomad -- of what I leave behind, what I carry forward.

Ceramics, the medium, is the embodiment of transience.  Clay is a product of geomorphic processes.  As a material, it is in constant flux.  The process of giving form to clay involves working with and against the physical properties of the material.  The history of ceramics is a history of cumulative knowledge and experimentation.  Of connection, interaction.  Of leaving something behind, bringing something forward.  The vessel form is loaded with metaphors: carrier of human necessities, meanings and traditions.

I make reference to Pinaree Sanpitak, Albert Jonathan and Montien Booma in their exploration and expression of the physical, mental and spiritual realms.  Above all, I admire Chiharu Shiota for her courage to show both vulnerability and resilience.

The  work had its first iteration at the Graduating Exhibition 2018 of the Australian National University School of Art and Design, December 2018.   Further iterations were installed in Shenyang, China (2019-2021), and Cammeray/Sydney (2024).