Teo Huey Ling
Singapore
5 of these small works were created during my residency in Longquan, using local celadon glazes and slipcasting techniques with hand alter-ations. I am deeply drawn to the subtle tones of celadon green — from pale misty greens to deeper, richer hues — and the way they echo the lustre of jade stone.
Each vessel is an abstract impression of the landscape around Longq-uan: the layered mountains, the flowing water, the drifting clouds, and the quiet resilience of vegetation. I do not attempt to replicate nature, but rather to capture its rhythm and spirit through curved, organic forms.
Working with celadon glaze is a delicate process — the colours shift with firing temperature, offering both surprises and gentle rewards. I hope these small pieces invite viewers to pause, to look closely, and to feel the serenity of nature captured in clay and glaze.
Each vessel is an abstract impression of the landscape around Longq-uan: the layered mountains, the flowing water, the drifting clouds, and the quiet resilience of vegetation. I do not attempt to replicate nature, but rather to capture its rhythm and spirit through curved, organic forms.
Working with celadon glaze is a delicate process — the colours shift with firing temperature, offering both surprises and gentle rewards. I hope these small pieces invite viewers to pause, to look closely, and to feel the serenity of nature captured in clay and glaze.
