Ceramic vessels are normally encountered as distinct objects in space, characters of certain shapes on a stage. We aren’t so much concerned with the shape of the voids, the spaces, the interiors they bear — if ever we look inside them, it’s probably to see what’s been put there. And yet we think even less about the interiors between the vessels. These are far less understood but no less real. How can we better reveal these spaces? Ceramicist and architectural designer Angela Cho has used the principle of the index (a physical trace or evidence of something’s existence) and the fixed, framed vantage point of the window to mount a scene of emptinesses summoned. A series of body-like clay vessels, layers of translucent paper cutouts, and lights and shadows are the simple materials for articulating the fertile voids between objects. If the window is the proscenium arch, beyond it is a play of proscenia. Note that daytime and nighttime experiences of this installation will differ.
Angela Cho is a Toronto-based artist, designer, and educator. Her work is driven by interests in thematizing materials’ tendencies, in exposing manual process, in spatial sequence, and in experimental models of preservation grounding in the index.