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Intimate Portrait
#NoPainNoFilterSiumou Chow
You have explored various creative mediums. Among comics, printmaking, ceramics and colour porcelain art, which one do you find the most challenging?
I am still trying to master Guangcai porcelain art and find it the most challenging. Other mediums tend to be more forgiving in terms of technique. But with Guangcai, line precision is key to delivering the detailed and intricate effect.
From Guangcai (Canton Famille Rose Porcelain) emerged the sub-genre Gangcai (Hong Kong porcelain art culture). What is your take on similarities and differences in terms of their themes and presentation techniques?
As Gangcai is a branch of Guangcai, they share similarities in the usage of materials, techniques and pattern design. The uniqueness of Gangcai lies in its inclusion of regional cultural symbols and Western stylistic elements. Gangcai’s contemporary vibe comes from including everyday observations of the people in Hong Kong and capturing their spirit, and from introducing new pattern designs that enrich the repertoire of traditional ones.
What is your favorite traditional design or pattern for decorating in Guangcai? Which part in the process of creating Guangcai art do you find most difficult?
My favorite traditional pattern is the octagonal brocade. Painting it is time-consuming but I find the process therapeutic. Drawing the ultra-fine lines in Guangcai is the biggest challenge. It takes meticulous preparation: grinding the pigments, mastering control of their consistency, practising my hand movements, keeping the brushes in good condition, and ensuring that I’m in the best physical form to meet the challenges. I am still diligently trying to master the process.
What inspired you to include elements of illustration and comics in your coloured porcelain works?
My interest in comics preceded my study in ceramics – in fact, for several years after graduation I mainly created indie comics. The two practices didn’t overlap until I developed an interest in Gangcai and realised it is a craft that not only combines painting and pottery, but is closely related to Hong Kong’s own story and evolution. The insight motivated me to further my studies – I wanted to develop my own language for expressing how comics and coloured porcelain art could intersect.
How do you strike a balance between adopting traditional craft techniques and introducing contemporary elements of pop culture in your creations? Have you faced any backlash for trying to merge the two?
My Gangcai teacher, Betty, has high hopes for us to pass on the craft to the next generation of artists, so much focus of our learning is in mastering traditional patterns and techniques. But how we build on Guangcai by introducing contemporary elements is also an important aspect of how we pass on Gangcai. Currently, we are taking a two-pronged approach to develop both.
It’s a fine balancing act, as contemporary aesthetics is quite different from when Guangcai was originally in vogue. Some traditionally auspicious symbols are no longer trendy, but they nonetheless contribute to the rich compositions that define Guangcai.
I am still exploring Gangcai and want to introduce it to more people, so that we could develop this genre together to create a Gangcai style that resonates with our times.
