JIG ART Vancouver

JIG ART Vancouver Jig Art focuses on cultural bridges, and the vibrant voices of emerging artists echo through the corridors of contemporary art.

05/24/2026

Exhibition Program｜Events Schedule

Taiwanese Tea Ceremony (hosted by the Taiwanese artists)
May 24 | 2:00–4:00 PM

Vancouver Artists Demonstration and guide
May 30 | 2:00–4:00 PM

Orchid Ensemble × Teakan : Live music and Tea Performance— A performance of tea ceremony and music exploring East and West
May 30 | 7:00–8:00 PM
Limited seating — registration link in bio！

05/24/2026

Yesterday, ”Where form meets the boundless“ opened to a full room — collectors, artists, students, and friends of the gallery, all in one space, moving between nine bodies of work and the conversations they started.

Thank you to everyone who came. Thank you to the artists who travelled and sent their work across oceans to be here. Thank you to curators Yumeng Li and Rachel Chen.

If you missed the opening — the exhibition is just beginning.

Tea ceremony host by Taiwan Artist will start 2-4pm today.

Exhibition hours:
Tuesday – Sunday, 11 AM – 6 PM
Jig Art | 106-8889 Laurel Street, Vancouver BC

05/21/2026

Opening reception. You’re invited.

“Where form meets the boundless” opens May 23rd at Jig Art Vancouver. We’re celebrating with an opening reception and we want you there.

Nine ceramic artists. Taiwan × Vancouver. Curated by Yumeng Li and Rachel Chen.

Sat May 23rd,2026
🕕 1PM – 6PM
📍 Jig Space | 106-8889 Laurel Street, Vancouver BC

Exhibition continues through June 3rd.
Gallery hours: Tuesday – Sunday, 1PM– 6 PM

05/21/2026

9,500 km. That’s how far some of these works traveled to reach Vancouver.

Custom-crated. Hand-wrapped. Air-freighted across the Pacific. Every piece treated with the same care it took to make it.

In 3 days, you‘ll see what was inside every crate.

”Where form meets the boundless“
May 23– June 3 | Jig Art Vancouver

CeramicArt

05/17/2026

This colour is 1,000 years old.

Celadon — the jade-green glaze first developed in Song Dynasty China — has been prized, replicated, and pursued by potters across East Asia for centuries. To truly master it takes a lifetime.

Chen-Long Lin has dedicated his career to that pursuit. He is a celadon glaze researcher, an adjunct associate professor, and a collection committee member for four major Taiwanese museums — including institutions that hold his own work in their permanent collections. His solo exhibitions have taken him from Taipei’s National History Museum to Jingdezhen’s China Ceramics Museum, Yixing Ceramics Museum, and Kyoto’s Kyocera Museum of Art.

What makes celadon extraordinary is that it cannot be exactly repeated. The colour shifts with the clay body, the kiln atmosphere, the temperature. Every piece is a negotiation between the artist and the fire.

Come and see where that negotiation landed. May 23– June 3@Jig Art Vancouver.

#青瓷

05/11/2026

A second-generation potter who channels millennial burnout into clay. A business graduate who crossed an ocean to become a sculptor. A rising star whose quiet tea bowls keep landing in museum collections.

𝗦𝗛𝗔𝗡𝗬𝗜𝗡 𝗟𝗘𝗘 李珊吟
Both parents are ceramic artists — she grew up shaping clay before she could write. Her ”Xian Xian Doesn’t Want to Move“ series captures a feeling this generation knows too well: the exhaustion of high rents, long hours, and the quiet wish to just lie down. ”Xian Xian“ (仙仙) is Hokkien for ”lazy, just wanting to lie flat“ — and also the Hokkien pronunciation of her own name. She merges traditional Chinese ink culture and tea aesthetics with fashion-forward colours and humour, making heritage feel contemporary and cool. 2024 Golden Teapot Award recipient.

𝗔𝗠𝗬 𝗖𝗛𝗔𝗡𝗚 张丽娟
She earned a business degree in Taiwan, spent eight years at a cloisonné company, then emigrated to Vancouver and started over — studying at Capilano University and completing her BFA at Emily Carr. Her sculptural creatures are assembled from ceramic, metal, and found objects — part insect, part machine, part myth. Finalist at the Taiwan International Ceramics Biennale. Bronze prize at the World Ceramics Teapot Competition in Yixing. 2016 artist-in-residence at Yingge Ceramics Museum.

𝗪𝗘𝗜 𝗖𝗛𝗘𝗡𝗚 成玮
Vancouver‘s most watched emerging ceramist. 2025 Mayer Wosk Award of Excellence from the North-West Ceramics Foundation. Canada Council residency funding. Works now entering: Canadian Clay and Glass Gallery (Waterloo), UBC Museum of Anthropology, Belger Arts Center (Kansas City). Born in China, rooted in Vancouver — her practice weaves classical technique with contemporary form, honouring tradition while speaking an unmistakably present-tense language.

These are the voices shaping what comes next. →

05/09/2026

Most potters choose one material and stay there.
Clay or porcelain. Rough or refined. Earthen or translucent.

Chen-Long Lin chose both.

His works combine stoneware clay and porcelain in a single piece — two materials that behave completely differently in the kiln. Clay is forgiving, textural, warm. Porcelain is uncompromising: thin, translucent, brilliant, and prone to cracking if pushed too far.

Firing them together means navigating two different shrinkage rates, two different temperature tolerances, two different personalities in the same fire.

The result is a surface that holds both at once: the roughness of earth and the precision of jade. The weight of tradition and the cool clarity of refinement. You can see exactly where one ends and the other begins — and that seam is not a flaw. It is the point.

Lin is not just a practitioner of this technique. He is one of its foremost researchers — a celadon glaze specialist, adjunct associate professor, and collection committee member for four major Taiwanese museums. Solo exhibitions at Taipei‘s National History Museum, Jingdezhen’s China Ceramics Museum, Yixing Ceramics Museum, and Kyoto‘s Kyocera Museum of Art.

05/09/2026

They don’t just make ceramics. They shape how ceramics is taught, evaluated, and remembered.

𝗗𝗘𝗕𝗥𝗔 𝗦𝗟𝗢𝗔𝗡
Five decades of practice rooted in Vancouver. Her ceramic bust sculptures explore identity with unflinching directness. Roof finials permanently installed at Leach Pottery in St Ives, UK — one of the most storied pottery studios in the world. Public art at YVR’s international departure lounge. Co-founder of the BC Ceramic Mark Registry. Part of a McGill University research partnership on craft-based trauma response since 2016. A living archive of West Coast Canadian ceramics.

𝗖𝗛𝗘𝗡-𝗟𝗢𝗡𝗚 𝗟𝗜𝗡 林振龙
A master of both ceramic and porcelain traditions — a rare combination requiring a lifetime of technical discipline. Adjunct associate professor and celadon glaze researcher. Collection committee member and juror for the Yingge Ceramics Museum, Kaohsiung Museum of Fine Arts, National Science and Technology Museum, and Tainan Art Museum. His solo exhibitions span Taipei‘s National History Museum, Jingdezhen’s China Ceramics Museum, Yixing Ceramics Museum, and Kyoto‘s Kyocera Museum of Art.

𝗬𝗜𝗡𝗚-𝗬𝗨𝗘𝗛
Born in Taiwan, based in Vancouver. A respected voice in academic ceramics. Her biomorphic sculptures seem to grow rather than be made — vessels that blur the boundary between the botanical and the handbuilt. In this exhibition, she is the structural bridge: an artist whose life and practice physically span the two cultural contexts the show places in dialogue.

These three artists don‘t just participate in the ceramics world. They build its infrastructure. →

JigArt

05/08/2026

This is a teapot.

It doesn’t look like one. It looks like something that crawled out of a tide pool, or was excavated from a planet we haven‘t named yet. But pick it up — and it pours. Open it — and there’s a cup hidden inside the body.

Cho Ming-Shun‘s work lives in the space between function and fiction. Every piece is usable. Every piece is also a creature, a vessel, a question.

When a teapot stops looking like a teapot — what does it become?

Tell us what you see in the comments ↓

01/03/2026

Reflecting the Soul through Abstraction

Stepping into Norah Chow’s studio feels like entering an infinite inner world. A monumental canvas confronts you first — vast, tense, and mysteriously lucid — awakening a quiet awe, as if seeing with the clarity of a child for the very first time.

Through abstraction, Norah reveals a hidden garden of the psyche. Flowing lines hover between rupture and connection, guided not by spectacle but by intuition — a sincere response to life itself. In an age shaped by consumerism, her work remains rare: emotionally honest, spiritually awake, and deeply human.

Color is her most powerful language — bold, luminous, and stretched to the limits of perception. Within the abstract fields, traces of figuration emerge. The recurring eye watches, remembers, grieves, and rejoices. Sometimes we observe the painting; sometimes, we realize we are being observed.

This exhibition invites you into a shifting terrain of joy and tension, fear and reverence, love and clarity — a portrait not just of the artist’s inner world, but of our own.

Reflecting the Soul through Abstraction

Artist: Norah Chow
📅 Exhibition Dates

January 10 – January 15, 2026

🥂 Opening Reception

January 10 | 3:30 PM

📍 Location

集空间 · Jig Space

#106-8889 Laurel St, Vancouver, BC, Canada

🎤 Presented by

加拿大 R空间艺术发展基金会

Canada R SPACE ART DEVELOPMENT FOUNDATION

加拿大 NPC 艺术设计学院

Canada NPC College of Arts & Design

ArtExhibition ContemporaryArt InnerLandscape SeeingAndBeingSeen

Address

106-8889 Laurel Street
Vancouver, BC
V6P3V9

Opening Hours

Monday 11am - 5pm
Tuesday 11am - 5pm
Wednesday 11am - 5pm
Thursday 11am - 5pm
Friday 11am - 5pm

Telephone

+16046361802

Website

http://www.jigart.ca/

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