Pigment recollects the memory of a usual pile of clay in my lecturer’s studio and of a natural dye workshop in Chiangmai this year. The collection uses pigment from clay found in Singapore sites. The clay is mixed with porcelain, giving it the plasticity to take form. Remarkably, the Singapore clay gifted the form with beautiful natural colour pigment never seen before. Pieces of ceramics walls were cut and replaced with a natural-dye fabric to resemble the houses we live in that are built on clay.
Local clay collected from Jurong and Yishun sites.
Light and Pigment
Natural pigment communicates with environment. The light-fastness of natural dye explores the degree to which a dye resists fading under exposure to sunlight for two weeks.
Black elements were attached onto the fabric to block off sunlight on areas of the work.
One of the element was removed after two weeks revealing extend of reaction each natural dye pigment has with sunlight and the other, is intentionally kept to hold track of the invisible constant around us.
Natural dye used: Turmeric, Coffee, Pomegranate skin, Pomegranate skin with rust, Pennywort with rust
Earlier this year I had the opportunity to meet local Batik artist, Mr. Sujak Rahman. It an experience and an exciting moment for me as I listened to him share on his supplies sources and watched his process of preparation behind a dye bath. Coincidentally, I flew to Chaingmai a few days after and attended a natural dye session with a local lady. During the session, I was introduced to colour dye using natural pigments from the biodiversity around us. As I continue my research and experimentation, I was amazed by how chemistry does magic in natural dye making the process always full of surprises.
Silly me first attempted to naturally dye porcelain and that failed as natural dye only works on fibre. Salt showcase the first successful result I had from my exploration around the theme of natural dye and ceramics. In these works, salt was the choice of mordants used to bind the natural colour pigment with the fabric.
I really appreciate suggestions to improve on this series of work. If you do have a message for me please direct it to firstname.lastname@example.org and I'll be really glad to read through them!
“I think you are the one I have been waiting for,” said the missing piece. “Maybe I am your missing piece.”
“But I am not missing a piece,” said the Big O. “There is no place you would fit.”
“That is too bad,” said the missing piece. “I was hoping that perhaps I could roll with you…”
“You cannot roll with me,” said the Big O, “but perhaps you can roll by yourself.”
The Missing Piece Meets the Big O
Having to give up a precious object sometimes makes us feel that a part of us is missing. In rou, a part of the clay body from each vessel is removed and placed at random around other vessels and/or within the similar vessel. This exploration of work that aims to convey the idea that while we have at times, painfully part with an important piece of us, we have too, unknowingly gained many other intangible aspects that makes us a more wholesome person.
rou reminds us that we have not lost a piece when we give genuinely.
The drips cups drew inspiration from an encounter with a coffee friend and the experiences earlier on in our coffee journey when we first met through a cup of pour over drip coffee.
The colourful cup rim is intentionally formed to symbolise various delicious 'liquids' dripping from the side of the cup. It also lends its palette from the colourful graphic prints - 'Balloons' that was on the wall of the cafe.
The series was produced in celebration of the years of friendship between Usually Usual and Percolate.
LIGHT & PIGMENT
My lecturer's lesson on light and pigment has made me quite obsessive with the two recently. Through readings, I learnt that while the primary colours of light are Red, Green & Blue (RGB), the primary colours of pigment are cyan, magenta & yellow. Similar to the idea of a rainbow, digital projection via light transmitting screens have files saved in RGB mode while prints are printed via cartridges in CMYK mode which then contains pigments that reflect certain light while absorbing the rest. For instance, yellow pigment reflect red and green and absorb blue light.
It was fascinating for me to discover that ceramic glazes belong to the pigment family bonded by different chemical elements and more interesting that colours of such pigment undergo a drastic change before and after firing.
Unlike the straightforward relationship our eyes have with pigment, what you see before firing isn't what you always get after firing in glazes.
The world is our playground and life, is a great big canvas.
Terrascapes is a documentation of make-believe landscapes and activities.
This work adapted a play on colour tones, overlay techniques and surprises in ceramic making to create visual landscapes and interactions.
When viewing the Terrascapes series, relax and be carried away by your creativity and imagination.
The Terrascapes series was part of Teapot & Giraffe's curated pieces at MAISON & OBJET Singapore 2016.
KUROI 黒色 is an experiment that works on an idea that I had on combing different clays that have extreme characteristics and texture.
I have grown to really like this new series of work and am really looking forward to making more of them!
The Wabi Sabi series was first created in 2014 during the Complements Of pop-up at Temporium. I was really intrigued by the idea of blurring the lines between ceramics and cement. The name arose due to the uneven rims that I experienced while trying to make these porcelain pieces as thin as they could. I dislike the unevenness initially, seeing them as imperfections to my craft.
One day, when I tried drinking from one of the vessels, it then occurred to me that these unevenness reflected individual character and personalities from each vessel and each, can never be duplicated.
Two years later, in 2016, I embarked on a Valentine Day celebration with my friend The Letter J Supply at her new studio. As we were brainstorming on ideas, we discussed on closely related relationship is with the Wabi Sabi theme. As Wabi Sabi, love is built on beautiful imperfections so that each of us will find meaning in these feelings so real.
Real not Perfect
The SHIROI しろい collection was created with a friend in mind.
A young talented architect with an eye for beautiful imperfections. I am thankful to him and his partners for believing in my crafts and for giving me the freedom to express myself through the pieces I created for them.
The SHIROI collection is available at TEAPOT & GIRAFFE.
The GOOD SPOTS project started through a collaboration with a good friend and a fellow maker, EveryDay Canoe.
The project was named Good 豆 Morning, which was based on the idea on the first meal of the day - our breakfast. The collaboration celebrates Everyday Canoe's first wood carving workshop at The Little Drom Store and we thought that it would be a wonderful idea to start the session with a warm cup of coffee served in a handmade ceramic mug.
Hence, the Good Spots set was created! Everyday Canoe really like the gold tint of a Bronze Glaze I've used and we decided to include it in as an element amongst the other bright cheery colours to reflect both hers and my personality.
And yes! I hope you liked the set as much as we do love it!
Photo Credit: Everyday Canoe
A celebration is always a joyous occasion.
The Confetti Party reminds me of the family BBQ sessions that my extended family have annually - a celebrations that brings us all back together, an event filled with warmth and laughter.
The confetti on each pieces is a play on the unique identities of the different personalities at each parties and how we interact and unknowingly come together so beautifully. At the same time, these colourful pieces hopes to add a little more colours and lights to each and everyone's life!