10 Questions with Yunjie Huang

Yunjie Huang (Feng Ye), born in 1998, is a London-based ceramic artist and illustrator whose work is a unique fusion of ancient cultures and contemporary narratives. With a foundation in Industrial Design, Yunjie furthered her education with a Distinction in MA Illustration at Camberwell College of Arts. Her artistic inspiration draws heavily from the relics and mythologies of goddess-worshipping cultures in the Neolithic and Bronze Age, translating these into dreamy, whimsical creations with surreal undertones through the mediums of clay and paint.

Recognised for her contributions to the field, Yunjie has been shortlisted for prestigious awards and exhibited worldwide. Her work, which delves into themes of modern feminism and societal power structures, reflecting her commitment to forging a dialogue between her creations and the observer.

Her art is not just a representation of aesthetic beauty but also a narrative tool that addresses inequality and explores avenues of self-empowerment rooted deeply in her personal life experiences. Through her choice of materials, especially porcelain, for its delicate and intricate nature, Yunjie aims to craft new symbols of femininity that resonate with ancient wisdom and contemporary resistance. These creations serve as vessels of empowerment, challenging traditional perceptions of the female body and emphasising its sacred, life-creating essence.

Yunjie Huang's vision extends beyond the visual to instigate reflection, inspire change, and celebrate the power of femininity through the endless possibilities of imagination, making her a distinguished voice in the realms of contemporary ceramic art and illustration.

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ARTIST STATEMENT

Yunjie Huang's artistic journey is a captivating exploration of the intersection between the mystical past and the complex present. Drawing from the depths of archaeology, myth, fairy tales, and fantasy, her work in ceramics and illustration not only showcases her technical prowess but also her profound ability to weave intricate narratives that delve into the essence of femininity and power. Influenced by ancient goddess-worshipping cultures, Yunjie utilises her medium to challenge contemporary perceptions of femininity, embedding each creation with a narrative that speaks to modern feminism and societal power structures.

Employing the clay, Yunjie crafts symbols that resonate with both ancient wisdom and contemporary defiance. These pieces are more than just art; they are embodiments of empowerment, inviting the viewer to traverse a realm where the sacred merges with the profane and the ancient dialogues with the modern. Her ceramic is a medium for visual storytelling, creating a miniature theatre that narrates her mythological tales and reflects her understanding and perception of the world. These creations are not just objects but narratives that invite the audience into a mysterious realm filled with feminine strength and wisdom. Her art transcends aesthetic boundaries to instigate dialogue, inspire reflection, and provoke change. Through the soft, whimsical, yet surreal undertones of her work, Yunjie aspires to alter the observer's perception of the female body, emphasising its sacred, life-creating essence.

In her artistic practice, Yunjie expresses a desire to foster a deeper connection between her art and its observers, celebrating the power of femininity through the boundless possibilities of imagination. Her ambition is not just to be seen but to spark a meaningful conversation about the roles and representations of women in society, challenging viewers to reconsider and reimagine the narrative of female empowerment. Through her unique blend of historical homage and contemporary critique, Yunjie Huang stands as a visionary artist whose work continues to inspire and challenge the conventional boundaries of art and feminism.

INTERVIEW

First of all, introduce yourself to our readers. What is your background? And how did you first approach visual arts?

Thanks for having me. My name is Yunjie, I have an artist name Feng Ye, which means leaves in the wind. I currently work as a ceramic artist and illustrator in London. My journey into the world of visual arts began with the illustrated storybooks that my mother brought me; I could just read them all day and tried to" copy those pretty pictures. That probably explains why I love to draw my inspiration from the depths of archaeology, myth, fairy tales, and fantasy.

You first studied Industrial Design before obtaining a Distinction in MA Illustration at Camberwell College of Arts. How did this educational background shape your artistic style and approach to ceramic art and illustration?

The core principle of Industrial Design revolves around designing with a user-centric approach, prioritizing problem-solving, and addressing the needs of others through extensive research and analysis. However, I feel it sometimes suppressed my idea of personal expression and storytelling. Studying at Camberwell College of Arts provided me with a platform to explore my own narrative voice and convey my ideas and inspirations through visual storytelling.
In my work, I not only prioritize the aesthetic and narrative aspects but also consider the functionality of the pieces. I find ceramics to be a great medium for making artwork that can be used on a daily basis. I aim to create art that not onlyresonates with the viewer but also serves a practical purpose, allowing for a deeper engagement with my creative concepts through everyday use. 

At the moment you work with both ceramics and watercolors. What differences and similarities do you find between these two mediums? And how does your work change based on the medium you use? 

Working with both ceramics and watercolors offers me a rich and dynamic creative experience, each medium presenting its own unique set of challenges and opportunities.
The biggest difference between the two materials is that I can create tangible objects that can be touched, felt, and interacted with through ceramics. On the other hand, watercolors, with their fluid and translucent nature, offer a more immediate and spontaneous approach to expression.They both are not the controllable medium. I like to try different clay and glaze and the outcome always surprises me. You will never know what they will look like when come out from the kiln. As for watercolor, I found it beautiful when I improvise on the paper. The mixture of water and paint can create a wide range of textures and random effects, letting the fluidity of the medium to guide my brushstrokes and shape the final composition.
In terms of how my work changes based on the medium I use, I find that each medium inspires a different creative process and aesthetic outcome. When working with ceramics, I often explore themes of functionality and form, experimenting with sculptural elements and surface textures to create visually compelling objects that merge art and utility. Conversely, when working with watercolors, I normally focus on detailed drawings to create art that resonates with viewers on an emotional and aesthetic level, inviting them to explore the stories and meanings behind the pictures.

Your art delves into themes of modern feminism and societal power structures. How do you navigate these complex themes through your artwork, and what messages do you hope to convey to your audience?

I believe that the truth of history sits behind the myth. The modern feminist Interpretations of these old stories have driven my interest in ancient matrilineal civilizations, especially their mythology and archeology findings.
"The personal is political," coined during the feminist movements of the 1970s, resonates deeply with me. My art practice serves as an altar embodying my personal beliefs, satisfying my inner quest during the creative process. On the one hand, I aim to engage with my audience, sparking reflections on matrilineal civilizations and their partnership social structures. On the other hand, I wish to reconstruct viewers' perceptions of the female body, emphasising its sacred, life-creating essence, fostering a profound dialogue between art and observer/user.
Through my artwork, I hope to convey the messages of empowerment and the recognition of the historical contributions of women. I Like participants in the 1970s Goddess movement, I believe that reclaiming faith in ancient goddesses can strengthen spiritual resilience.

Porcelain is a central material in your artwork due to its delicate and intricate nature. What draws you to porcelain, and how do you utilize its properties to craft new symbols of femininity in your creations?

I am deeply interested in creating art with clay. In China, there is a myth that Nüwa makes humanity from clay. According to Robert Briffault and Erich Neumann's research on the prehistoric myth and related archaeological evidence, pottery was invented by women and was regarded as a sacred process associated with the worship of the Goddesses. Therefore, I chose ceramics as one of the main vehicles for my creative experiments.
What draws me to porcelain is its transformative quality—from its soft and malleable state before firing to its remarkable hardness and durability once fired. This duality embodies the essence of femininity, symbolizing strength and resilience concealed within delicacy.
I utilize porcelain's properties to craft new symbols of femininity. Whether through delicate floral motifs, flowing curves, or subtle textures, porcelain is a great canvas to redefine and reinterpret femininity symbols in a contemporary context, inviting viewers to explore and embrace the complexities of womanhood.

Can you share with us how ancient goddess-worshipping cultures and mythologies influence your work, and how you translate these influences into your creations? 

Based on Marija Gimbutas' research and interpretation of archaeological finds from the Neolithic to the Bronze Age in ancient Europe, the essence of the cult of the goddess in ancient Europe was the worship of the natural cycle of birth, death and rebirth. Humanity and nature were in unity, and not exploitative as believed by many in a typical hierarchal structure.
Worshipping the human body, especially the female body, was an important feature of the partnership civilisation of ancient Europe during the Neolithic era. The female body part and the combination of the body with natural things constituted the symbol of the goddess. With this in mind, I began to experiment with creating the symbols of the Goddess.

Can you walk us through your creative process when developing a new piece of artwork, from conception to completion?

I'm a person who likes to think out of the box, and little bursts of inspiration sometimes pop into my head while reading, watching films, daydreaming or just before bed. I'll use my mobile phone to write down these inspirations with sticky notes. When I want to create something new, I go through this storehouse of inspiration and look for the themes that interest me the most at the moment to refine further. 
I will consult written and photographic sources around the chosen theme. Although I create primarily visual artworks, I consider textual references that support the idea to be very important and guide my choice of visual language and expression. I will make sketches in the form of sketches or collages and then choose ceramics or paintings to realise the ideas in the sketches. Sometimes I also improvise directly from the idea in clay.

Can you share any insights into your future projects or artistic endeavors that you're currently working on or planning to explore in the future?

I'm currently working on my brand H2 Studio. My intention is to make ceramic art pieces both functional and decorative. Whether adorning dining tables or adorning individuals, my design embodies a celebration of the wonderfully odd and delightfully magical aspects of life. One of the represent collections is the Kissing Cup Theatre. 
The Kissing Cup series is a practice that creates a theatrical place through the use of the cup. When the user puts drinks into the cup, the nose inside will be drowned. It will be "saved" from drowning when the user kisses and finishes drinking from the cup whilst simultaneously conveying the message that gaslighting and emotional manipulation may look like the expression of love, but it is still dangerous and sometimes invisible in a relationship.

As an artist, how do you see your work evolving in the coming years, and are there any specific goals or milestones you hope to achieve?

In the coming years, I plan to continue pushing the boundaries of ceramics and wearable narrative art, exploring new techniques and incorporating innovative materials to create pieces that are both visually stunning and conceptually rich. 
I have spent a year exploring the balance between commercial and self-expression within ceramics. It is challenging, but it also makes me want to continue this journey.  Revealing the power relations within a patriarchal society in my wearable art themes, I wish my work could become a speaker of their user, spark meaningful conversations, and drive potential social changes. The milestone that I want to achieve in the next three years is to get my independent studio.

Beyond your artistic practice, are there any other passions or interests that inspire you or influence your creative process?

Traveling and immersing myself in different cultures always inspires me. Experiencing diverse artistic traditions and interacting with local artisans provide fresh insights and ideas, enriching my creative approach and expanding my artistic vocabulary. I am planning to visit places that are famous for ancient matriarchal achievements, like Crete Island. I believe actually seeing the relics of the Crete civilisation will bring more ideas for my future projects.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.