Hsian Jung Chen

My inspiration comes mainly from the common experiences of people in daily life, for example the fruit shops, traditional markets, the worship culture of Taoism, traditional Chinese medicines, etc.

Tell us a little about your background – what did you study and what path led you to what you are doing today?

I completed an Advertising BA in Taipei and have an MA in Creative and Cultural Entrepreneurship from Goldsmiths College in London. So my background is more related to communication, marketing and business management. Although I am not professionally trained in fine arts and ceramics, I went to a pottery workshop in my neighborhood when I was in London. I loved it, and have kept making pottery ever since.

What are the key themes, concepts, and ideas that you engage with in your work and how do you express these visually and physically?

My inspiration comes mainly from the common experiences of people in daily life, for example the fruit shops, traditional markets, the worship culture of Taoism, traditional Chinese medicines, etc.  And I reinterpret them through my ceramic practice and mixed-media installations. I tend to distort and twist common themes purposely in order to invoke resonance with the audience. Simultaneously, I seek to disturb and challenge the audience’s accustomed way of thinking. Visually, I like to purify the thoughts and feelings, and rebuild them with geometric forms and colours. Physically, I tend to combine my ceramic works with found objects. Also, I make 2D graphic works to go with my sculptures.

Who or what are some of your influences? What other artists and creatives in general do you admire?

My works are influenced by Memphis design and post-modernism. I play with forms, shapes and colours a lot, and try to de-function my ceramic works. I intend to make the meanings and usages open to the viewers/users.

I admire many artists and creatives, who have influence my arts practice more or less, for example, Donald Judd, Martin Creed, Assemble Studio, Rachel Whiteread, Francis Alÿs, Anders Ruhwald, Peter Shire, Martino Gamper, etc.

What is your workspace like?

I work from home. It’s an apartment in Taipei. There is a big table in the living room, where I do computer works. I use another room as my ceramic studio, where I make most of my ceramic works and store my clay, glazes, materials and works. So far, I don’t have the kiln at mine, so I have to move my works back and forth to my friend’s studio for firing. There is a long and narrow balcony in the front with much sunlight and many foliage plants. I like to stare at it for refreshing.

What do you want the viewer to experience when they’re experiencing your works?

Viewers are welcomed to interact and interpret my work intuitively based on their own life experiences. Misunderstandings, over-associations, and internal conversations are to be expected; however, all these personal thought processes make the work more referential to the individual viewer and create additional possibilities and layers of understanding. The audience is encouraged to re-think their relationship with ordinary objects and surroundings as well as concepts and contexts.

  • Hsian Jung Chen

    Ceramicist