Bok Choy (2021), bisque porcelain, blue clay bisqueware, resin, paper, plastic, pigment, 8.5 x 12 x 2 in		Ring over Pond over Tusks (2021), clay, resin, vinyl tubing, watercolor, pigment, blue clay bisqueware, 9 x 5 x 5 in	Land Use (2022), clay, resin, foam, pigment, 10.5 x 4 x 5.5 in	Curved Red (2023), porcelain clay, resin, pigment, 7.5 x 14 x 2 in	The Relationship Between Birds and Land (2023), porcelain clay, resin, aluminum, epoxy clay, pigment, 7 x 14 x 2 in	Swan Lake (2022), ceramics, resin, pigment, steel, thread, 12 x 9.5 x 7 in	Ripple II (2023), porcelain clay, resin, epoxy clay, pigment, 6 x 11.5 x 1.5 in	Shadow (2021), blue clay bisqueware, resin, pigment, epoxy clay, 10 x 7 x 1 in
Ring over Pond over Tusks
06/04/23-06/05/23. Candice Madey, New York City
Photo documentation: Kunning Huang

Sculptures in Ring over Pond over Tusks are poetic distillations of Tong’s multifarious interests and activities. In addition to his passion for the natural environment, the artist has a strong affinity with ancient and medieval artifacts which offer invaluable insights into ways of thinking about the universe that preceded current science-based interpretations. Sculptures include various materials such as metal, fabric, and bits of found detritus encased in matrixes constructed with an improbable mixture of porcelain clay and colored resin. Like concrete poems or absurdist haiku, they say more than they show – their reverberations heightened by seemingly unrelated titles such as Climbing Figure (a reference to the Capitol insurrectionists), or The Relationship between Birds and Land. While Climbing Figure is painterly in effect and reminiscent of some of the wilder works of Joan Miró or Sonia Delaunay, Ripple II and The Relationship between Birds and Land are more architectonic and could be conceived as three-dimensional maps or models for large-scale installations.
This project is generously supported by the British Columbia Arts Council.

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