I was born in Taiwan, and earned my BFA from Massachusetts College of Art and a Master of Architecture from MIT.  My work is an amalgam of the Asian forms, rituals and sensibility I grew up with, and the modernist Western esthetic in which I was educated.  Through an intercultural lens, my goal is to deconstruct traditional forms and challenge Western distinctions between functional and fine art.  

I am particularly interested in the interplay between modernism and wabi-sabi. I derive my forms using the principle of “form follows function” (from modern architecture and industrial design), then deconstruct them with the sensibility of wabi-sabi.  As an artistic form, wabi-sabi embraces that which is imperfect, asymmetrical, ostensibly crude, and comfortable with ambiguity and contradiction. This is diametrically opposed to the influence of commercialized modernism, in which we place value in slick, high-tech and machine-made objects and consider imperfection to be a defect.

Although I experiment with different clays, forms and firing, I gravitate toward wood firing.  A wood fire requires constant tending; it can be carefully guided but never controlled, and the resultant collaborative alchemy reveals the character and spirit of the clay.