After completing a BFA at the National Art School, Zi Xin’s artistic practice has since developed further through residencies in both Sydney and Jingdezhen, China, the historic centre of Chinese porcelain production. Today, she continues to work closely with ceramics, while developing an increasingly distinctive artistic practice of her own.
It is therefore no wonder that this exhibition is concerned with language. But Zi Xin’s language is not simply made up of words. In Words of Wisdom, she begins with something very familiar: idiomatic expressions. These expressions come from Chinese, English and Spanish. They are pieces of language that have travelled through generations and cultures, carrying with them humour, memory, habits of thought and particular ways of imagining the world.
But Zi Xin does not simply explain these expressions, translate them, or illustrate them. She plays with them. And then something more interesting happens: the wordplay becomes image-play.
A verbal expression becomes a visual proposition. A phrase becomes a figure; a pun becomes a creature; a sound becomes a form; an inherited expression becomes a new sculptural situation.
This transformation—from words into images—is, I think, at the heart of Zi Xin’s work.
Her ceramics are not illustrations of language. They are what happens when language itself becomes raw material for artistic creation.
She takes the instability of words—their double meanings, ambiguities, associations, mistranslations and cultural differences—and gives that instability physical form. Clay becomes a way of thinking with language, rather than simply representing it.
And this is where the works become particularly playful. They often appear almost animated: creatures seem to gesture, objects seem to perform, and forms appear to be caught in the middle of some strange little narrative. The works have the visual immediacy of folk toys or cartoons, but underneath that playfulness is a more sophisticated process of transformation.
Zi Xin moves between languages, but she also moves between systems of meaning.
A word in one language encounters a word in another. A familiar expression encounters an unfamiliar image. A cultural reference encounters another cultural reference. And in that encounter, something new emerges.
So the works do not necessarily return us to the original meaning of the idiom. They move beyond it.
This is an important distinction. The starting point may be a proverb, an idiom, a pun or a familiar phrase, but the destination is not a translation. It is a new artistic expression.
In this sense, Zi Xin’s practice is both linguistic and visual, but it is ultimately neither language nor illustration. It occupies the space in between. She creates a kind of visual language in which words can become bodies, meanings can become forms, and cultural references can be dismantled and recombined.
There is also something fitting about ceramics as the medium for this process. Language is intangible and constantly changing; clay is physical, tactile and enduring. Zi Xin brings these two qualities together. Something as fleeting as a phrase can become something that occupies space, casts a shadow, and asks to be looked at from different angles.
And perhaps that is what makes Words of Wisdom so engaging. We arrive with language we think we already understand, and Zi Xin makes us see it differently.
She reminds us that words are never entirely fixed. They can be played with, stretched, misread, translated, transformed—and ultimately reinvented.
Here, words become images.
Images become objects.
And objects become a new language.
- Professor Jing Han
24th September - 22nd October
Opening night: Thursday 24th September from 6-8pm
