“I explored the connection between the archaeology of the past and my own archaeology of the present by incorporating contemporary industrial materials like stainless steel with silver and broken ceramic wares in different shades of green. Studying ceramic shards is not only essential to the understanding of the authenticity of ceramic wares, it is also an invaluable opportunity to learn more about and appreciate their unique craftsmanship.
I polished these shards into oval discs and set them in silver bezels, which were then connected to a chain mail of interlinked metal rings. The overlooked piles of ceramic shards transform into unique bezels reinvigorating their intriguing details and jade-like effects that unfold upon closer inspection. The chain mail with the shards is draped over a free-standing structure, resembling a piece of fabric flowing over a clothes rack.
The monochromatic glazes, humble shapes and undulating carved motifs of the ceramic shards reflect the sedate beauty that Song dynasty aesthetics and philosophy aspired to. The colour of the glaze in Qingbai, Longquan and Yaozhou ware were intended to reflect the color in nature. Celadon Weaver juxtaposed handcrafted and mass-produced as well as the geometric and anthropomorphic. Also, I am interested in how silver and ceramic are both earth substances and ancient craft but continue to be manipulated by humans to project our imagination, desire and needs.” - Leelee Chan discusses her work, Celadon Weaver, and her process.