Originally from Taiwan, I moved to Chicago in 2014 and was first introduced to ceramics at Hyde Park Art Center while earning my Master's degree in Art History at the School of the Art Institute of Chicago. I felt an instant connection with the medium and was captivated by the controlled randomness of the processes.


In front of the catenary arch wood kiln at Ox-Bow in 2017

Opportunity to continue my ceramics education brought me to Ox-Bow School of Art in Michigan, where I attended a woodfire course led by the studio potter Nathan Willever and the interdisciplinary artist Salvador Jiménez-Flores. In practice, I learned to develop individual projects, design press mold, create screen printing and newsprint transfers on clay, and construct raku kilns. The highlight was a collaborative act of loading, firing, and unloading the work in Ox-Bow's catenary arch wood kiln. The wood kiln, in particular, offered me a close up experience to the mechanics of kiln firing: How fuel and oxygen affect the quality and efficiency of the flame and in turn add to the final aesthetics of the surface. Conceptually, I stepped into both Western and Eastern approaches to the production of pottery as well as historical and contemporary uses of ceramics. It was through my studies first of the modern arts of the West that I came to look back at the great pottery traditions and craftsmanship of East Asia, and from there, to find my own way. 

When I settled in Oregon in 2017, I had the opportunity to join the wood firing community at East Creek to fire the anagama kiln and to observe Steve Sauer performing hikidashi – to pull chawan (tea bowl) at the height of the firing. While I continue to develop my body of work,  the technical necessities of making and firing pottery, ideas, and stories that I have gained from many ceramics artists, studio potters, and wonderful friends along the way keep inspiring and informing my practice.