a conversation with Eunice Luk

No egg is perfect.
Solo exhibition at the Embassy of Canada, Prince Takamado Gallery in Tokyo. November 29, 2016 - January 20, 2017 

Please tell us about the introduction of wonderful ceramic sculptures in your work. How did that happened?

I started ceramics at a local pottery studio when I was around nine. I stayed at the same studio for over two years. Learned all the basics of hand building, making pinch pots, coiled vessels, piggy banks, tiles, while watching my older brother learn how to throw on the wheel. I really wanted to try throwing but my teacher thought I was too small. After two years, I felt she was never going to let me 'graduate' to the throwing side of the studio so I stopped going. I made small objects from time to time until my last year in university. I took an Introduction to ceramics class to reunite with clay and to fulfill my longing for making things with my hands. After that class, I was hooked on working with clay again. About a year after graduating, I inherited my friend's father's kiln and learned how to fire manually on my own. It was the most rewarding and magical feeling to fire by myself. Since then ceramic has became a big part of my practice. I still hand build everything and grew to appreciate the imperfect contours of hand built sculptures and vessels.

Tamago no.2, 2016. Max Height no.2, 2015.Tamago no.3, 2016. Tamagao no.4, 2016.

Do you have a schedule or a routine when you go to your studio to work?

I resign from my day job as a textile designer in Toronto about two years ago and came to Japan to do a long term artist residency in Yokohama, Kanagawa. Since then, I have been travelling a lot more so every day is different depending if I have an exhibition or art book fair coming up. Aside from ceramic sculptures, I also make paintings and publish artist books, so my practice allows me to move fluidly from one project to another. During busy periods, I could be working for more than 12 hours everyday to prepare for an exhibition.

Form no.2 - Capacity for new love, 2016. Ceramic.

Can you show us your favorite corner in your studio?

My favourite part of the studio is the kiln. I'm really interested in the process of firing and am always excited to load, fire and crack the kiln open to see the result of a successful firing. I always amazed by how brittle and fragile greenware are vitrified and transformed into (almost) forever lasting objects.

Kiln view. 

What's your favorite object right now?

My favourite object for a while now is a little vintage hand-crochet dog from Lithuania that I picked up at the cutest little store, Doma {@doma_yoriko}, in Kyoto. I named him, Boko (凹  in Japanese) because he's weird, cute and bumpy !

Boko-chan. Photo credit: Toshifumi Matsumiya @himantolophus_groenlandicus

Please tell us about the art scene in Japan. Do you consider there is a strong support network among young artists? In to what extent are events such as the Tokyo Art Book Fair are important  when it comes to showcase young artists work?

I am still discovering the art scene in Japan since I only moved here a year and a half ago. But so far I've met so many lovely artists and creative people in Tokyo, Yokohama as well as in the countryside of Japan. The city is huge here so there are many pockets of art communities. I love discovering artist studios, galleries, artist-run bars and art books shops. I also find that there's a lot of diversity in the contemporary art scene here which is refreshing. It's all very new to me.

This year was my third time exhibiting at the Tokyo art book fair. It's one of the most beautiful, thought out art book fairs I've exhibited at. It's given me a really great entry to meeting local artists, designers and curators. The Tokyo art book fair is very important since it offers an accessible way for young artists to showcase their work. I also find it a great fair for young artists to connect with artists, print houses or binderies they are interested in (there's an amazing Printer's section at the Tokyo Art Book Fair). I'm really glad I've been able to meet people I admire online, in real life at the book fair.

This is a consumerist question, but it would be amazing to see more Slow Editions print shirts available. Do you think that is viable in a near future?

For my exhibition at VACANT, I made a new sweatshirt and It's called 'In my memory'. I tie-dyed some too but they're also available in white. I made a new snail enamel pin too. You can find them at Vacant in Harajuku or online at http://sloweditions.info.

Pranning for exhibition. Eunice Luk's apartment in Yokohama.

Where can you see your work in the coming months?

I have two solo exhibitions in Tokyo right now: 'Inside the snail's shell' curated by Toshifumi Matsumiya and Kimi Yokoyama at Vacant, 3-20-13 Jingumae, Shibuya, Tokyo, from November 25th ~ December 14th and 'No egg is perfect' at the Embassy of Canada Prince Takamado Gallery, 7-3-38 Akasaka, Minato-ku, Tokyo, from November 29th ~ January 20th, 2017. I will be in a group show in Toronto next month, 'As the morning lengthened, whole parties appeared over the sandhills' curated by Sarah Watson and Jess Carroll at AC Repair, 1588 Dupont St. Rear Building, Toronto, from Dec 15th ~ December 23rd. After that I'll be working on new publications with some of my favourite artists for the LAABF. The fair will be at the Geffen Contemporary at MOCA in February 2017, I'm looking forward to hanging out with my friends there!


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