Liyang is a Chinese-Canadian architect and artist living in Brooklyn, New York.
Her work is born out of her play with materials, proportion, time, and light; often, forms emerge from the inherent qualities of specific materials in conversation with her hands.
Collaborators
Quarry Cup
Thrown on the wheel from a single mass of black porcelain, the upper form emerges with precision. Over the span of several days as the clay slowly transitions from wet to leather-hard, the bottom half is torn and chiseled revealing the grain of the Earth.
Thrown on the wheel from a single mass of black porcelain, the upper form emerges with precision. Over the span of several days as the clay slowly transitions from wet to leather-hard, the bottom half is torn and chiseled revealing the grain of the Earth.
Nora Lamp
Named after my cat, who was named after the great surrealist painter Leonora Carrington
Named after my cat, who was named after the great surrealist painter Leonora Carrington
Calle Lily Collar
is meant to be worn like a tie. Made in collaboration with Five Gold
is meant to be worn like a tie. Made in collaboration with Five Gold
Oyster Brooch
Inspired by the way museums display precious objects. Made in collaboration with Five Gold
Inspired by the way museums display precious objects. Made in collaboration with Five Gold
The Sculptural Spoon: Forms and Process
The sculptural spoon emerges from an exploration of clay’s intrinsic memory, an unintentional response to the material’s natural tendencies. Formed from a flat slab and draped over a hump mold, the clay billows organically, resisting full conformity to the mold. The process embraces the clay’s inherent movement, allowing the edges to lift and curve in a sculptural gesture. The result is an object that embodies both structure and spontaneity: where gravity, moisture, and material memory shape the final form.
The sculptural spoon emerges from an exploration of clay’s intrinsic memory, an unintentional response to the material’s natural tendencies. Formed from a flat slab and draped over a hump mold, the clay billows organically, resisting full conformity to the mold. The process embraces the clay’s inherent movement, allowing the edges to lift and curve in a sculptural gesture. The result is an object that embodies both structure and spontaneity: where gravity, moisture, and material memory shape the final form.
