Ongoing series, 2020
Above- Knuckle 003, High-fired stoneware, 2020. Private collection
My parents were artists and ceramics used to be a therapeutic hobby for me. Having lived in different places as a child, I found con-solace at home and empathy in nature. When I returned to Singapore and moved out of home, I started working with clay again as a way to reconnect with my childhood habits and memories, and also the ground beneath our feet.
I started with no professional ceramic equipment, so hand-building became the natural choice of approach to working with clay. The pinching process is simple; one circles a sphere of clay in the palm of one's hands and pinching its walls repetitively to produce a palm-sized vessel. It is a foundational technique that has never left me.
As I work with larger amounts of clay, pinching becomes more and more a physical process, and I develop a system of working the clay body which is very personal and intuitive; Considering pressure on the roughness of clay, how much clay I can handle, and the beauty of simple symmetrical forms become part of the process of making.
Pinching a vessel is a primordial gesture; this technique has been used for 10s of thousands of years. As I work with the same technique and minerals as those nameless pinch pots in ethnologies museums from different civilisations. I feel I am responding to this history and connecting to this history of craft, and mark-making with my hands no different physiologically from the maker’s hands 10-20,000 years ago.
Above- Knuckle 001-005, High-fived raku stoneware, white glaze, 2020. Various pieces are collected by a private collector in Singapore.
Below- Pinched vessels, local 'wild' clay, 2018
Whilst renting a small ceramics studio to revisit ceramics as a medium, I gradually found myself exploring other aspects of this craft and sharing this journey with the community. Pinch Ceramics Studio was thus founded as a result.
Colour chemistry and Ceramics
High-fired glazes on stoneware
2016-2018 (colour experimentation)