About Borealis Tiger Studio

Borealis Tiger Studio is a ceramic studio exploring the beauty of porcelain through form, texture, and light. My work is rooted in Chinese ceramic traditions, particularly the delicate techniques of carving and pierced porcelain, while looking for ways to reinterpret them through a contemporary lens. I am drawn to porcelain for its quiet strength, translucency, and ability to hold intricate detail. Each piece is handmade with an emphasis on thoughtful form and carefully considered surfaces, creating objects that feel both refined and tactile. Through my work, I hope to create a dialogue between traditional craftsmanship and my own evolving ceramic language.

Half-Knife (半刀) Carving

Half-knife carving is a traditional Chinese ceramic technique in which a knife is held at an angle to create controlled cuts and subtle variations across the surface of the clay. The technique allows the knife to act like a pen (以刀代笔), creating a natural sense of movement, with changes in depth catching light and shadow in different ways. The technique reflects a broader Chinese appreciation for balance, restraint, and the beauty of natural movement—rather than imposing a rigid pattern, each cut responds to the form and creates its own rhythm. I use half-knife carving to explore the relationship between control and spontaneity, allowing light and shadow to reveal the character of the art.

Ling Long (玲珑)

Ling Long (玲珑) is a traditional Chinese porcelain technique that creates delicate pierced patterns within the clay, allowing light to pass through the finished vessel. Interestingly this technique arose by accident in ancient China. The kilns in ancient China were hard to control, resulting in overfiring of pottery, resulting in glaze running into punched holes in the pottery. The flawed pottery appeared to be covered holes letting light through, but was completely watertight (满身是孔，但滴水不漏). The technique reflects a Chinese appreciation for harmony, balance, and the relationship between emptiness and form—the spaces are not simply absence, but an essential part of the design. I use Ling Long to explore this interplay of solid and void, creating porcelain that feels both intricate and light, and transforms with the movement of light.