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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What role does research play in your practice?
Cindy Leung: Research is the foundation of my practice. During graduate school, I studied British colonial history in Hong Kong to understand the disconnection I feel towards mainland Chinese and Western cultures. I experimented with Chinese trade goods such as silk, tea, and porcelain, since they were highly desired in the West. I also used material engagement and linguistic theories to understand how meaning is built.
The parts of that research that remain in my current practice are the use of linguistics and playful, formal elements. My sculptures are made of multiple parts that function like the “Subject-Verb-Object” structure. To me, assembling them is a form of storytelling where a subject acts upon an object. In many of my pieces, the subject and object never actually interact. This lack of action represents missing connections, highlighting the sense of disconnection I feel towards Chinese, American, and European cultures.
CM: Who is your ideal audience?
CL: I want my work to be accessible to everyone. Visually, I am inspired by the playful assemblies of Peter Shire and Matt Mitros. Philosophically, I resonate with Isamu Noguchi’s cross-cultural reference in his sculptures. I understand that not everyone will fully understand my work, so it is important for me to create sculptures that speak multiple “languages.”
First, they speak a universal visual language of playfulness. This allows anyone to enjoy the work on the sensory level. Second, they use the language of humor and a conceptual language that communicates a sense of in-betweenness. Whether a viewer engages with my research or simply enjoys the visual play, they will find a point of connection.
Learn more at www.cindyclsy.com or follow on Instagram @cindyclsy.
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