Ying Zheng

Ying Zheng (b. 1999) is a London-based ceramic artist and sculptor from Macau, China. Her practice, rooted in sculpture, delves into human nature and emotions. She recently completed a master's program in Ceramics and Glass at the Royal College of Art and holds a bachelor's degree in Product Design from the Central Academy of Fine Arts. During her undergraduate studies, she also attended the University of Gothenburg in Sweden for a design program. Ying's recent exhibitions include the "BATTERSEA EXPRESS" group exhibition at the Battersea Design District during the London Design Festival and the "SEAMS" group exhibition at the Season Gallery in London. Her studio is currently located in northeast London. At present, she is participating in the MASS SCULPTURE program initiated by Turps Banana Magazine.

Artist Statement

Ying Zheng's practice explores topics like social alienation, consumerism, and the human experience. The project Purity of True Feelings examines the pure feelings of humanity and relationships.

In her current artworks, Ying utilizes the delicate balance between stability and fluidity in ceramics to explore the essence and internal relationships of projection, superego, and conflict in romantic relationships. The works take on an abstract form with a porous structure, symbolizing the virtual changes that occur within our bodies—the untouchable yet real emotional transformations. The liquid flow from the inside out expresses the intensity of emotions.

Like each pore of our skin, these artworks overflow with strong feelings. The sculptural forms and porous structures symbolize the individual's 'body,' the container of the mind, which carries those unspeakable emotions. The feelings within squeeze out like liquid through the pore structure, gushing to the surface.

She uses gloop glaze as a powerful visual language to express the concept of ‘fossilized emotion.’ Her ceramic sculptures serve as a medium to record and preserve the complexity of the inner world and psychological processes of individuals, exploring the innocence of feelings and emotional changes in human romantic relationships.

What is your first memory creating?

My initial creative memory is the hope that I can use sculpture as a medium to preserve beautiful moments of human nature, such as innocent and romantic feelings. This spontaneity—the beautiful change of emotion—is a precious and unique part of humanity. It reveals emotional changes that are warm, fiery, intense, and complex. It is also random, uncontrollable, and unpredictable.

What is your relationship to your medium? What draws you to it?

Ceramics is a material I have been exposed to for a long time. I began taking ceramic workshops as a child and discovered my talent for clay making. However, I didn't study it in depth until university. I find the process of making ceramics full of possibilities and healing. I am fascinated by its plasticity and versatility. I feel more relaxed and comfortable working with it than with other materials. Clay feels raw and warm compared to metals and glass, which require high temperatures or machine manipulation. Each time I touch clay, I feel wonderfully inspired. There are many techniques for ceramics, but hand building is the most direct way for me to engage with the material and create its new character.

What is the main thing you hope your audience takes away from your art?

As I mentioned in the introduction to my works, the entire series is called Purity of True Feelings. I have not named each sculpture individually because my works tend to express personal feelings through the subtle relationship between colors, materials, and shapes. Each person's understanding and feeling of these elements is unique, making it an interactive process for viewers. I hope to evoke emotional resonance and special feedback from my creations, rather than defining the meaning of the work for the viewer. I wish for audiences to connect the interactive process with emotional moments and stories from their own experiences.

Tell us about a challenge you overcame last year.

Last year was particularly challenging for me. As one of the first one-year master's ceramics students at the Royal College of Art, I embarked on a journey filled with tension, anxiety, and excitement. The challenge I overcame was the transformation of my work and the shift in identity from a ceramic student to an independent ceramic artist. Previously, I worked in a more realistic sculptural direction, but during this year, my focus shifted to material language and the expression of abstract forms. Making this change in a limited time was not easy, whether in terms of creative ideas, technique research, or material experimentation. In the six months leading up to graduation, I dedicated nearly every day to my work, eagerly anticipating the graduation exhibition where I could present pieces that satisfied me.

What is your main goal or resolution this year in terms of your art practice?

I have always believed that the quality of artwork in material craft-related fields must mature as long as one spends enough time, works hard, and reflects often. This year, my goal is to continue developing my practice, focusing on glaze techniques, the depth of my work, and achieving a more mature visual effect. As an emerging artist, I hope for more opportunities for cross-border collaboration in the new year. I also wish to incorporate various materials into my work while still concentrating on ceramics, as exploring ceramic material is a long journey.