Sharon Lee Cheuk Wun |   李卓媛

w h e r e v e r  y o u  a r e  ,  b e  a l l  t h e r e

Artist Statement

 

 

 

 

 

My work is often material-led and an embrace of poetic expression to reveal the subtitles and fragility of life. I worked with clay as I think the material demonstrates delicacy and strength, humbleness and refinement. I ponder over the transformative character of clay, but I am least loyal to the craftsmanship in ceramic. I am not interested in making ceramic objects; I enjoy experiencing clay as earth and experimenting boldly on its materiality and physicality instead. I see the potential of ceramic from its long and vast history and in its original state–earth–the origin of lives and the primitive relations to human beings. I relate the material broadly, from personal reflections to social, cultural and religious perspectives. My art-making is never bound by a certain medium.

 

‘Sublime’ is one of the most classical subject matter for artists who are deeply inspired by nature. Reinterpreting ‘sublime’ happens to be a hidden thread connecting my artworks in varies stages. I don’t think one has to reach the highest peak or emerge in the greatest water in order to experience the true, the good and the beautiful. My approach to sublime is ‘down to earth', as I found a kind of sublime in everyday life. I see the true presence of the absence, the kindness in the creation, I see a universe in an egg.


Called the Dry Ground Land(2014,2017), marks my earliest experimentation with clay. Yet, the final representation is in photography. Simply by squeezing the clay between the hands, the ‘absence’–the negative space of the palm becomes visible by moulding. Indeed, the lens ‘makes the sculpture’–transforming the bunch of clay into a mountain range. The collide of sculpture with lens-based media comes in full realization in my graduation work Bonsai of Vanity(2017).  How the lens is going to alter sculpture-making and how the viewing experience of the sculpture will give lens-based media new directions intrigued me. My works have consolidated my diverse artistic practice with varies medium. I see 'sculptures pictorially and see images sculpturally'.

 

I have repeatedly worked on the idea that sculpture is more of a 'process, an interaction, a condensation of a series of movements than a static object.How can the viewing experience of sculpture be altered and expanded by the lens-based medium in order to embrace its fluidity?

Sheung Shing Store

2018

Resonance of the Elements

2017

Called the Dry Ground "Land "

 

2015, 2017

 

Float to Utopia- Good Place But Nowhere

 

2016

 

House

2015

Thinktank

 

2017

Genesis

 

2016-2017

 

 

Called the Vault "Sky"– Two Great Lights

 

2017

Bonsai of Vanity 

 

2016

The Diary of Neumünster

 

2017

 

 

Pottery Design: Mist . Dew .Wave 
 

2014

Hermit Crab

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2015

Every material has its limitations considering its physical nature. Yet when I work with a certain material, I see its constraints as potentials. Exploring the relationship between the physicality of clay and sound brings the realisation of Resonance of The Elements. I playfully re-construct the relationship between these fundamental elements—water, fire and earth; sound act as a medium in the work to reveal their interaction echoing to the energy of nature. To me, the power of nature is often revealed in the subtleties, for example, the well-polished river pebbles, the flowers grow at the cliff, the infinities of an apple seed. I consider these subtleties as the kind of ‘sublime’ that moves me the most.

 

In traditional ceramic practice, high firing (1200°C) is generally applied to transform the material completely and to ensure endurance. With a low firing (900°C), I am able to create ceramics which are less dense. These low-fired stone-like ceramic are filled with water. However, since they are not dense enough, water slowly drips out. In the installation setting, the dripping sound is enhanced and transformed in varies tone by an arranged echoing system. By mixing porcelain, red clay, and Black Mountain (a type of clay that contains a lot of sand) in different proportion, the density of the ceramic pieces varies as different clay mature at different temperatures. Therefore, the water dripping of different ceramic “rocks” alternate forming a resonance of the elements.

 

Since I am always impressed by how perfectly the river pebbles are gently polished by water flow, 'wash' is applied as a sculpting process on these ceramics. As the clay on the surface is being washed away, the sand is largely revealed forming a rough texture, meanwhile, the organic patterns and colour are naturally formed.