Archives: Artists

My recent work consists of a group of ceramic objects collected from second-hand shops across the UK. Originating from different countries and regions, these objects were once part of various domestic settings. Now, displaced and resold, they exist in unfamiliar surroundings, detached from their original cultural contexts and functional meanings. As a Chinese artist living and working in the UK, I project my own condition onto these objects: visible, yet always on the margin; present, yet never fully integrated.
Each piece is gently encased in lampworked glass. Transparent and fragile, the glass does not seal the objects but instead reveals an intangible sense of boundary. In my practice, glass is not only a material language, but also a philosophical manifestation—it symbolizes Wu (non-being) in Daoist thought. Wu is not emptiness, but a space of undefined potential, an open and fluid mode of presence.

Recently, I have become increasingly aware of world issues and the affect they have on people. Many of the works that I have produced as a result of this come from reflections of experiences, both my own and of those close to me.
As a disabled person, with hypermobility/EDS (which affects all my joints) seemingly simple things, such as holding a cup, can curtail my life, because they can be difficult and uncomfortable to hold, causing pain, plus the embarrassment of having to ask and explain my need for an alternative. This is reflected in my current work which is looking at the issues of accessibility and ableism in the world, specifically examining drinking vessels and how they can, not only, be inaccessible, but also create a hostile and humiliating environment.

In meiner künstlerischen Praxis verfolge ich einen mehrstufigen, einzigartigen Schaffensprozess, der die Entstehung meiner Werke prägt. Ich richte meinen Fokus auf die Rückseite des Glases, wo ich verschiedene Materialien gezielt auftrage. Dieser methodische Ansatz bildet das Fundament meiner Technik. Danach lasse ich jede Schicht mindestens 24 Stunden trocknen, was zur Stabilität und Klarheit des Ergebnisses beiträgt. Sobald alle Schichten getrocknet sind, fixiere ich sie mit Harz, um die farbintensiven Schichten nachhaltig zu bewahren. Erst beim Umdrehen des Glases offenbart sich das vollendete Kunstwerk. Meine neuartige Methode schafft organisch wirkende Strukturen, die an das fließende Spiel von Lava erinnern und durch strahlende Farben unterstützt werden. Diese Technik überzeugt durch ihre Einzigartigkeit und bringt die verborgene Schönheit des Materials ans Tageslicht.

Most of my current work is based on bringing the forest and sea to life with colour and texture. I also love capturing moments in glass and have undertaken commission portraits and memories in glass. Its a continuous learning experience which I love.

I am within a year of finishing a B.A. course in Glass and Ceramics at the University of Sunderland, where I have gained new skills in glass art, specialising in kiln-firing and glass casting. The department is equipped with a wide range of equipment including multiple kilns, waterjet cutter, architectural glass department, as well as hot glass and flameworking, and all of these have found a place in my work.
A recent project, showcased at the Undergraduate Research Conference in Newcastle, explored different types of glass and casting methods expressing aspects of water pollution, with uranium glass representing toxicity, and bubbles rising through cloudy glass refer to methane escaping from sediment. These samples will lead to larger cast pieces showcasing water pollution. Attractive but deadly!
I feel very fortunate to have benefited from skilled teaching in a welcoming environment to learn new skills. Unfortunately the course will close in 2026.

This body of work explores the emotional resonance of colour through kiln-pressed glass, translating the fluid line work of 2D neurographic art into a tactile, three-dimensional form. Each piece investigates how form, texture, and palette can reflect the psychological and emotional fluctuations we experience throughout life.

By layering transparent and opalescent glass in the kiln, painterly surfaces emerge—evoking a sense of inner movement and depth. Colour plays a central role, with hues chosen to symbolise emotional states, from turbulence and intensity to calm and renewal.

Sandblasted, flowing lines curve across the surface, echoing the non-linear paths we navigate as human beings. These etched marks symbolise both disruption and continuity, referencing the subconscious patterns found in neurographic drawing.

The resulting works are intimate and reflective—inviting the viewer to explore their own internal landscape and consider the quiet strength found in emotional vulnerability and transformation.

I am drawn to colour, pattern, and processes. The kaleidoscope effect of rose windows and complex tracery patters from medieval cathedral construction, form the basic structure of my designs. As well as my own designs, I work to commission.