Introduction

Clay and hair are the primary materials to construct sculptural form in my work; both materials are rich in their elemental association to human/animal existence. Often indirectly, the thesis work references human bodies and experiences, delving into themes of family, belonging, protection, femininity, motherhood, and insecurity — all within the context of the theoretical and visual realms of surrealism, fantasy, and mythology. Sculptural elements representing legs, hair, and skin, are disembodied, and assembled to create dreamlike worlds that act as peculiar mirrors reflecting societal dynamics.

My work employs metaphors, relating to adults and children, with recurrent fantastic or fantasy or surreal figures; legs shackled by chains; and baby cribs encased in concrete. These elements symbolize the collapse of a child’s world and the forceful predatory nature of adults. The work suggests violence and threat, exemplified by the swinging hands in front of pink dolls and unnaturally arched legs. Traits of innocence, playfulness, intensity, and aggression coexist simultaneously in the artwork, reflecting the complex, yet immature, inner worlds of children. These characteristics are intricately and uniquely blended to highlight the nuanced experiences of youth within society.

Within the sculptural work, I strive to balance abstraction and figuration, employing colors, shapes, textures, and material combinations that evoke both familiar and alien associations. I have crafted a fictional universe of human forms where societal roles become re-examined in an alternate dimension. The fragmentation and oddity in my pieces. generates scenarios that might seem violent or cruel and could be found draped in the gossamer of fantasy dreamscapes. My work blurs reality, exploring how surreal settings can mask the harshness of actual events, critiquing underlying societal norms.

Work/Concept

the works oscillate between reality and illusion. Escape, a tall stool has three human shaped legs connected to its top. The elongated ceramic legs of this stool mimic human legs, exaggerated and contorted unnaturally and raising the tips of the feet to an elevated height, amplifying imbalance and insecurity. The skin-like glaze on the stool’s surface, is set against an intense red underneath. The top of the stool is smooth and bright. Two of the stool feet do not touch the floor; the piece is unbalanced and movable. The contrast between imbalance and control adds tension. Escape appears as a piece of furniture but is imbued with subjective consciousness. The connecting wires suggest Frankenstein-like bindings, hinting that this piece, like a creature with its own will, is chained and restrained.

Protection is a blend of women’s hair, horsehair, and wool creating an 11-meter, scarf. A common item in human society, people habitually use wool to make scarfs and other clothing products. Added human and animal hair integrated into the scarf makes it strangely familiar, placing human and animal in an equal position. This fusion elicits a sense of abjection—some are reluctant to touch it, others find it repulsive. This reaction fascinating because there is an instinctive aversion to disembodied human hair.  The piece explores the theme of labor, highlighting the unseen efforts embedded in the traditional practice of weaving, often woman’s work This juxtaposition challenges societal perceptions and stirs a deeper reflection on the materials we commonly accept versus those we reject.

In traditional Buddhism and theology, deities often have multiple heads and arms, symbolizing abilities, and powers far beyond those of ordinary humans. This iconography suggests a level of completeness and capability that surpasses ordinary mortals, highlighting the divine nature or qualities of these figures. In the work titled Us, pink beings with two faces, four arms, and four legs represent a body that may be seen as more complete than ours. These abstract figures, both creature like and doll-like; they are small and have been positioned in such a way that they can be easily manipulated. Their softness and lack of aggression render them vulnerable within the piece, the soft pink color also highlighting their fragility and the ease with which they can be controlled or influenced. Because they are not realistic, we are distanced from relating to them empathetically, as we would a real being, so the audience, does not feel guilt or remorse as they impact their movements. In their surreal, organ-like yet dreamy pink color and their distant, unrelatable nature, they resemble us, yet they are not us.

Throughout my work, I focus on deconstructing familiar human body elements like skin, hair, encouraging viewers to see these elements from an objectified perspective, challenging their perceptions of what constitutes a living being and questioning the empathy with the object and the hierarchy of the human in society.

Material

Clay and wool felt are the primary materials in my artistic practice, chosen for their natural qualities and their ability to convey the essence of body and woman, childhood, and motherhood. Clay connects me to a story from my past, rooted in Chinese folklore, whereby a goddess fashions humans from mud, highlighting an ancient connection to the raw material of life itself. In many cultures, clay represents the origin of humanity—it symbolizes the earth, the mother, and the divine. In my work, the use of clay also relates to themes of motherhood, gestation, and the continuation of lineage, imbuing my sculptures with a sense of origin and connectivity.

Felted wool evokes a sense of gentleness and protection, reminiscent of the deep bond between a mother and her child. As a utilitarian material widely used in clothing, wool inherently carries characteristics of utility, warmth, softness, and comfort. I leverage these attributes in my sculptures, while also introducing elements that diverge from everyday life, creating a sense of reality that is simultaneously detached, fostering a dissociative experience for the viewer.

Process

Even though the materials I use are often associated with protection, nurturing, and motherhood, the process involves a range of other emotions. In the felting of wool, there is an inherently aggressive aspect as I repeatedly stab and puncture the soft wool with fine needles, over and over to shape it. To mold the wool into the desired form, I must continually jab it with needles, gradually transforming it from soft to firm.

The process of working with clay involves physically sensing the material’s softness; during the modeling process, I feel as though I am caressing its skin, communicating with it as if touching a human body. This sensation is intimate for me, almost erotic. I can easily leave any mark on the clay. This intimate interaction with the material gives me the illusion that I am truly shaping a life.

Inspiration/Background

Growing up in urban southern China, with my parents, working hard to support their family so that they were both absent and present. As a child I experienced female independence in my solitary upbringing and witnessed the independence my mother. My father traveled to worked away from home; I was raised by my mother who also worked full time. My formative years were spent on my own. As an international student studying in the USA and isolated during covid, the experience of my childhood years was echoed. Growing up in an environment of solitude, I often placed my emotions in dolls and objects, the line between reality and fantasy was not clear; the inanimate seemed to possess souls and kept me company. Many elements of my artwork originate from dreams and imaginings. I often fantasized about transforming into various grotesque creatures. The insecurities and fantastical imaginations resulting from this experience are also sources for my work.

Louise Bourgeois and Mona Hatoum have been in an inspiration for my current body of work. Louise Bourgeois’s use of soft dolls to depict childhood trauma, transforming objects that typically symbolize protection, innocence, and joy to represent the darker aspects of the adult world. My inspiration from Mona Hatoum derived from her contemplation of the living environment and expressed feelings of insecurity and uncertainty through her work, her exploration of the relationship between sculpture and the body and, her exploration of dualism. Theoretically, Julia Kristeva’s analysis of abjection has been an important framework for my practice. I chose to focus on the deconstruction of familiar elements of the human body as I encourage viewers to perceive these subjects from an objectified perspective.

Conclusion

My BFA exhibition, Exist, explores the delicate interplay between reality and fantasy through the medium of sculpture, employing materials such as clay and hair to challenge the familiar and expand our perception of the reality. This body of work serves as a surreal reflection on societal norms, where the familiar is deconstructed and reassembled to challenge perceptions and provoke thought. Each sculpture is a portal into a fantasy world, questioning the boundaries of the human form and its societal roles, providing a mirror to the often-unspoken hierarchies and dynamics that shape our interactions and understanding of each other. Through this exhibition, I aim to invite viewers into a dreamlike state where they can explore the underlying narratives of power, vulnerability, and identity that influence our lives and relationships. This exploration is not just an artistic endeavor but a personal journey that draws from my own experiences and observations. Though personal narratives and broader cultural motifs, my work invites audiences to traverse a landscape that is both alien and deeply resonant, prompting a reflection on each individual within the web of social construction.

Afterword

Regarding the use of humor in my work, I strive for a harmonious balance between humor, the grotesque, and solemnity. Humor is present to some extent in each of my pieces, serving as a counterbalance to the weight and seriousness of the themes. It alleviates some of the pressure viewers might feel when engaging with my work. Given that my pieces often explore themes of feminism, violence, and the grotesque—subjects that are inherently serious and not typically associated with laughter—viewers might initially react with humor to the surface elements. However, upon reflection, they may question whether it is appropriate to laugh, adding a layer of complexity to their interaction with the art. Secondly, most of my pieces are suspended. Vertically hanging my work creates an immersive environment that makes viewers feel small, as if they are enveloped by the artwork. This perspective shift transforms an adult’s normal view to that of a child’s, offering a fresh perspective on the world.