Lin Wen-hsuan
Lin Wen-hsuan was born in 1991 in Hsinchu, Taiwan, and holds an MFA in Craft and Design from the National Taiwan University of Arts. The artist works primarily with clay to explore the relationship between spirituality and materiality in her practice. In 2023, Lin was selected for the Ministry of Culture’s artist residency program and undertook a residency at the European Ceramic Work Centre (EKWC) in the Netherlands. Her work was subsequently exhibited at the Museum of Decorative Arts in Prague in 2024. That same year, she participated in the Ghosts in the Foreign Land at Mediamatic in Amsterdam, where she showcased ceramic installations inspired by Taiwanese Taoist ritual culture. Moving forward, Lin aims to deepen her exploration of the spiritual and the material rooted in ecological sustainability.
- Location Netherlands / Oisterwijk
- Year of the Grant 2023
- Residency Sunday Morning, European Ceramic Work Centre (EKWC)
- Work Home – Red Bricks
- Personal Website Lin Wen-hsuan's Personal Website
The European Ceramic Work Centre (Sundaymorning@EKWC) is a ceramic artist residency center where technicians and project managers help global residents realize their creative visions. For those interested in applying, it is advisable to prepare a clear exhibition objective or project proposal and take initiative in learning, whether it is understanding how to use the equipment or familiarizing oneself with the ceramic production process. Based on my own experience, the first month would largely be devoted to testing materials, refining plans, consulting with technicians about appropriate tools, and coordinating with fellow artists. I am deeply grateful for the technicians’ consistent support and care throughout the process.
In the Home residency project, I observed the nest of the mud dauber wasp to reflect on the concept of home. The wasp’s physical limitations lead it to rely almost entirely on nearby earth to construct its nest. To better understand the fragile, shell-like nest and to preserve its original structure, I collected wasp nests and fired them at a high temperature (1230°C) in a ceramic kiln. Through this process, the nest colors transformed from raw earth tones into a variety of natural hues. Though unglazed, they took on a distinct ceramic quality. I try to expand the notion of authorship in ceramics by proposing a form of co-creation between the non-human (the wasp) and the human (the artist). The nest becomes a primordial object of home, an entry point for exploring the potential of collaboration between ceramics and the natural world.
Upon arriving at EKWC, I was overwhelmed by a happiness I had never known before. I truly enjoyed spending time with the other artists. Although we came from different creative backgrounds, we all shared a common concern for the world, expressed through our art. In the past, I’ve sometimes stalled in my practice, due to overthinking. But through this residency, I regained a vital sense of momentum.
Author: Lin Wen-hsuan
Edited: Brix