Chong surrounded by pottery at his studio.
Kuching-based ceramist creates beautiful usable pieces from local clay.
THERE is beauty in imperfection, and one Sarawakian ceramist chooses not to restrict himself in his craft in order to create beautiful usable pieces from local clay.
Kuching-based Tuson Chong believes that there is no limitation on what can be made in pottery, as it is a journey of discovery and experiment.
The founder of ceramics and pottery studio Gardencraft Co remembers how he began his pottery journey in 2003 in Singapore, when he was introduced to master ceramist Jessie Lim by his aunt, who was taking weekend ceramics-making classes from Lim.
“I was interested in pottery because of my curiosity in how ancient pottery was made, as I am a collector of ancient pottery. I’ve been hooked since then.
“I still have my first pieces of pottery, which were a small pinched pot and a small thrown pot.
Chong in full concentration shaping a piece at the potter’s wheel.
“Looking back, I would not change anything, as pottery is something that improves and evolves through the years,” he said.
Chong works mainly with local terracotta clay and occasionally white clay.
“I only use local clay as I prefer to use what is available around me. Also, our local wild clay in Kuching is of high quality and durable.
“I tend to create usable art, so I would make sure my pieces are comfortable in the hands and easy to clean. I also try to achieve a weight balance and proportion in the pieces I make,” he explained.
Chong, a former landscape architect, draws inspiration mainly from his surroundings, such as plants, mountains, wildlife, and some elements of Dayak culture.
However, he is most influenced by his pottery teacher in terms of the methods he uses to throw, trim and decorate his pieces.
“Over the years, I have definitely created my own signature pieces, but the methods are still the same as my mentor’s.
Some of Chong’s ceramic cups.
“I tend to not glaze the pieces completely. This is to show the beauty of our local Sarawakian clay,” he said, adding that he had received photos from people who recognised his signature style on works they came across in restaurants or private collections.
For Chong, the typical workflow for one piece starts with a lump of clay.
“I start off by cutting off a lump of clay from the block and wedge it to remove impurities and air pockets. Without thinking too much about it, I would just start making a piece. As I go along, the shape and the character of the clay will direct me.
“This is only when I am making one-off pieces. I do not pre-determine my work under normal circumstances. However, if it is a commissioned work, it will have to follow what the client has requested,” he said.
From making to firing, the longest pieces to complete are usually sculptures, with a small one taking about a month. Items like thrown bowls and cups will usually take about a week or two.
Chong reveals that one of the most challenging pieces he has created was an incense burner.
A ‘Tree of Life’ sculpture made by Chong.
“It consists of two parts that must fit well together. Also, the intricate carvings on its body and base took a lot of time.”
In addition to creating his own pottery pieces, he also conducts workshops at his studio.
Last year, Gardencraft Co held its first exhibition titled “Naked: The Beauty of Raw Clay”. The event was a resounding success, showcasing works by Chong, his workshop students and other Sarawakian artists.
It also coincided with “Dine on Clay”, a unique collaborative fine dining experience that highlighted the culinary might of Kuching as a Unesco Creative City of Gastronomy.
For this year, Chong will be working on three proposed exhibitions – a solo exhibition on infusion bowls and two collaborative projects.
“Besides that, I will be creating more new tableware products, as well as tidying up and improving the studio,” he said.
