Crystal Chen
North Sydney Girls High School
WHEN MAJESTY FALLS TO FOLLY
Ceramics
Glaze and Acrylic on Ceramics
When Majesty Falls to Folly is a series of eight ceramic vessels that places Asian antiquity within my neoliberal context. From the Qing Dynasty to contemporary times, the timeless forms and iconography of Chinese porcelain have governed economic models within the art world. My body of work is intended to be a satirical inversion of this symbol of luxury. I parody the medium to express the modern overindulgence evident in tweets and pop culture. By combining a representation of dynastic pottery with imagery from media, my series explores how our way of life is immersed in decadence.
My artmaking practice has been influenced by the study and interpretation of the following artists: Grayson Perry, Ai Weiwei.
Marker's Commentary
When Majesty Falls to Folly is a series of ceramic vessels in various scale, classical shapes and forms. The vessels are hand built, with additional application of high relief features. This subversive, postmodern work engages and challenges the audience with clever, ironic, satirical conceptual twists. The work presents a unique point of view as it engages the audience with commentary on global leadership and power, via the influence of social media. Deliberately employed, the symbolic qualities of opulent, kitsch and gaudy gold and metallic surfaces, set the parameters for discussion on power, wealth, greed and fallen global rulers. Each piece can be read to present an individual perspective while collectively, this artwork hails as a cautionary tale. The ceramic shapes, iconography and text, such as ‘What colour is your Bugatti’ and ‘Decadence’ are resolved in the central white vessel, as the focal point recontextualised on the dominant central form, directing the audience to consider the power and influence of social media.
The body of work is clearly connected to the traditions and conventions of Asian Antiquity, particularly the Qing Dynasty and Chinese Bronze Age. The history of, and economic prosperity generated by, historical Porcelain production in China is cleverly layered within this artwork. This often satirical and humorous set of eight works is highly informed in its connection to English Multimedia Artist, Grayson Perry’s practice. The series of forms are decorated in bright traditional patterns with a palette of blues, golds and green, further connecting to the conventional use of Chinese celadons and cobalt blue and white tissue transfers. The innovative use of cold acrylic finishes further connects this successful subversive practice to the methods of Chinese Artist, Ai Wei Wei and emerging trends in contemporary ceramics. Press molds and clay piping methods have also been employed in high relief sculptural areas, to replicate and connect to historical practices.