COCO KARESANSUI

The negative space of landscapes resides in the spiritual realm--it is a kind of mindscape.

Ancient scholars pack landscapes into gardens and objectify landscape features in their pastime. Many would even personalise their scenery in the process of creating inner harmony. Here “negative" means "emptying" the mind, removing the “noise" bestowed upon the mind by social realities, creating tangible "playthings" is a cathartic act of secularising the troubles of the mind.

Wei Cheng has always focused on thinking and researching clay. Her curiosity towards the material’s unbounded capabilities guides many of her creations and shines through in all her works. One thing to note about clay is that its body can undergo a variety of transformations, depending on the temperature it endures in the kiln. The ensuing results can range from crystal clear to coarse black even if they are of the same clay origin. For a piece to consist of both results, it would have to be fired separately given that the firing temperature is the determining factor. Yet, Cheng challenges that assertion and heats two congruent clay bodies to allow the depth of black to contrast the elegance of white.

In this series, Cheng’s work echoes the phrase “Black Mountain, White Water” used to describe the lofty paintings of ancient literati, through proper understanding and thoughtful expression of the two tones. Furthermore, Cheng’s interpretation of black and white encapsulates the essence of both Japanese Zen Garden aka “Karesansui” and the elegant black and white trend spearheaded by Coco Chanel.

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Text / Steven Dragonn