| Biography | Artist Statement | Inventory Catalogue | Artists Represented |
Sara Tse

1974 Born in Hong Kong
Doctor of Fine Arts Candidate(3 years course) Royal Melbourne Institute of Technology, Australia

Inventory Catalogue

Master of Fine Arts, Royal Melbourne Institute of Technology University, Australia
Bachelor of Arts (Hons.), Fine Arts Major, The Chinese University of Hong Kong

Solo Exhibitions
"Clay Play II", Viridian Gallery, Vancouver, Canada
2007 "French Landscape: Collection and Connection", Art Beatus Gallery, Hong Kong
"Conserve Memory - Ceramic Sculptures by Sara Tse", Art Beatus Gallery, Hong Kong
Recent Work by Sara Tse, Art Gallery, Breakthrough Youth Village, Hong Kong
2002 "Egg Carton - Recent Works by Sara Tse", Studio 1426, Hong Kong
2000 "Double Happiness - Recent Works by Sara Tse", Goethe Institute, Hong Kong
1999 Pottermaid Ceramic Installation by Sara Tse, Agfa Gallery and the Pottery Workshop, Hong Kong
1996 Works by Sara Tse, Hong Kong Culture Centre, Hong Kong
1995 Sara Tse Solo Art Exhibition, Sir Run Run Hall, The Chinese University of Hong Kong

Selected Group Exhibitions
"Multiple Facets", Art Beatus Gallery, Hong Kong
Asia Top Gallery Hotel Art Fair, Art Beatus Gallery, Hong Kong
Art Fair Tokyo 2010, Art Beatus Gallery, Tokyo, Japan
10 Years - Hong Kong and Mainland Chinese Ceramic Artists' Exhibition, Shanghai Pottery Workshop Gallery, Shanghai, China

“The Matter of Confusion”, L’Oreal Melbourne Fashion Festival Cultural Progaram, Melbourne, Australia
Entry Gate: Chinese Aesthetics of Heterogeneity, 2006 MOCA Envisage, Museum of Contemporary Art, Shanghai, China

Melbourne Art Fair, Australia

Works by Contemporary Artists from Macau and Hong Kong, Cultural Affairs Bureau of the Macau S.A.R. Government, Tap Seac Gallery, Macau
Tokyo Art Fair, Japan

"In The Box" Exhibition, Langham Place, Hong Kong
Melbourne Art Fair, Australia

International Contemporary Woman Artists Works Exhibition, Citic Square, Shanghai, China

The Tenth National Exhibition of Arts, China, 2004

Project Spaces '04, Art Chicago 2004,Chicago, U.S.A

ARCO '04, Madrid, Spain
2003 Hong Kong Art Biennial Exhibition, Hong Kong Museum of Art, Hong Kong

Design exhibition series two: "Illuminated Objects", Habitus, Hong Kong

"Fotan Gathering" joint exhibition, Studio 1426, Hong Kong
1999 "Open/Close" joint exhibition, la Gallery, Hong Kong
Tokoname Pottery Festival's Exhibition, Tokoname Convention and Exhibition Centre, Japan

The International Workshop of Ceramic Art in Tokaname Exhibition Cera Gallery, Tokaname, Japan
The Finalists' Exhibition from the 11th Philippe Charriol Foundation Art Competition, Ocean Terminal, Times Square and City Plaza II, Hong Kong

Scholarships and Awards
"Fonds Des Artistes" Grant, Alliance Francaise
2003 Award Winner for the Hong Kong Art Biennial Exhibition, Hong Kong Museum of Art
2002 Received sponsorship from Hong Kong Arts Development Council, exhibition and publication grant for "Clay Play - Ceramic Art Handbook"
1999 Received sponsorship from Hong Kong Arts Development Council, exhibition grant for "Double Happiness - Recent Works by Sara Tse"
1997 Received the Ceramic Award 97-98 from The Friends of the Pottery Workshop, Hong Kong exhibition grant for "Pottermaid Ceramic Installation by Sara Tse", and free to use all facilities with technical guidance by ceramics professors in the The Pottery Workshop during the Award Year
1996 Received the Outstanding Performance Award from the Fine Art Department Exhibition, The Chinese University of Hong Kong

Artist in Residence
“America Art Foundation Project”, Vietnam
"International Workshops of Cermaic Art in Tokoname 97", Japan

Hong Kong Heritage Museum
Queensland Art Gallery, Australia
Annie Wong Art Foundation
Hong Kong Museum of Art
Hong Kong Museum of Art

Artist Statement

“French Landscape: Connection and Collection”

It is human nature to desire to preserve a unique personal experience. Travellers throughout history have returned with ‘souvenirs’ in commemoration of and desire to both retain and share a memory of their experiences. Ceramic artefacts are considered to be uniquely significant in an archaeological and historical context as a means of providing important clues and memories of the way of life of cultures and civilisations throughout the ages.

The project “French Landscape: Connection and Collection” aims to further investigate the idea of ‘memory-traces’ and the idea of commemoration. My intention will be to construct a new series of works from collected objects that directly relate to my experience as an‘outsider’, traversing two distinctly different geographical and cultural regions with their own specific and unique cultural signifiers.

The project does not intend to commemorate this experience via literal representation of the physical landscape but rather to create a metaphorical landscape created by means of a “membrane memory” of objects that signify and form a connection between people and place.

"Conserve Memory"

This work is about the conservation of memory.

The lace fabric I used is made of repeated floral patterns. I cut out the motifs and transform them into ceramic pieces. And then the ceramic pieces are sewn back onto where the motifs appeared on the fabric.

These floral motifs are made by machines: each one is exactly like the others. However, after they are transformed by my slip method to become ceramics, they retain a likeness to their origin, yet each piece differs from the other. The sizes of the ceramic pieces have shrunk during the firing, but they all bear a more organic outlook. The transformed pieces strike an interesting contrast to their original patterns.


My work is an investigation of how an object can become a tool for memory. The tactility of ceramics makes ceramics an appropriate medium for this task. Memory is not just about remembering it is also about forgetting/loss. The characteristic of my working process is that it encompasses both remember and forgetting/loss.

I dip objects in slip and fire them. In the process, the object is consumed by fire and lost. The slip seeps into the pores of the object and becomes hard after firing. A thin "shell" is thus created. While the "shell" is not exactly a copy of the original object, it looks very much like it. This process registers the simultaneous remembering and forgetting of an object.

- Sara Tse

For further information, please contact:

Canada: tel: (1) 604.688.2633, fax: (1) 604.688.2685