IN CONVERSATION: STEPH HUANG

Steph Huang illustrated by Maria Chen

DATE

2024/11/01

ARTICLE

Maria Chen

PHOTOS

Courtesy of the Artist

In Conversation with Steph Huang: Exploring Food, Trade, and Materiality

Steph Huang, a London-based Taiwanese artist, delves into the intersections of food production, global trade, and cultural heritage in her work. Her installations, ranging from hand-blown glass sculptures to films and found objects, are grounded in meticulous research and personal observations. Steph shares with CNTRFLD.ART, insights into her current exhibitions at Tate Britain and esea contemporary, where she explores themes of food, land, and consumption, while also reflecting on her journey as an artist, her approach to materials, and her thoughts on sustainability and bookbinding.

CREDITS

Header: Still image from the film See, See, Sea (2024), Tate Britain, London

Slider 1-4: Installation view at Tate Britain, London

CNTRFLD. Your current exhibitions at Tate Britain and esea contemporary both explore themes related to food, land, and consumption. What drew you to these subjects, and how do they connect with your broader body of work?

SH. The starting point was a project called Everything About Prawns in 2019. It was inspired by prawn fishing in Taiwan, a popular leisure activity for the working class in suburban areas. Participants pay approximately 8 euros for 2 hours to fish for prawns in a man-made concrete pond and have the option to grill them on-site. It blew my mind when I first stepped into the venue. It's surreal, absurd, and entertaining in a way.

In March 2021, the Suez Canal was obstructed for six days by the Ever Given, a container ship that had run aground in the canal. Alongside the impacts of COVID-19 and Brexit, we acclimated to encountering empty shelves in the supermarket, recognising the profound reliance of our modern lives on logistics and global trade.

This interest gradually transitioned to focusing on the modern slavery, sustainability and global trading. Subsequently, I started visiting multiple seaside towns in the UK, interviewing people involved in the fishing industry.

CNTRFLD. In “There is nothing old under the sun” at esea contemporary, you blend everyday objects with personal and collective memories. Can you tell us about how you select these objects and the role they play in your storytelling?

SH. Ready-mades are multifaceted. My inquiries delve into the realms of social history, our collective memories as consumers, as well as the poetic aspects of physical appearance. In my daily cycling routine in London, I frequently encounter discarded objects and broken furniture. I find joy in repurposing these items in my work, imbuing them with both utility and sentimental significance. There are moments of pure magic when I instantly know how a newfound treasure aligns with an idea in my mind. On other occasions, I drag an assortment of broken items to my tiny studio and reassure myself that I'm not a hoarder.

CNTRFLD. Your new installation at Tate Britain features a film about scallop diving off the coast of Devon. What was the process of creating this film, and how did the environment and the subject matter influence your artistic approach?

SH. The film portrays the lives of the fishing community in Brixham, which was used as a backdrop for the exhibition. It was historically referred to as Mother of Deep-Sea Fisheries. I made regular visits, despite the distance and the unreliable train services. Sarah Ready, a remarkable solicitor/ fishwoman who introduced me to the locals, smuggled me into the packaging area, and told me stories about their visions and struggles.

Field trips are essential, and they also keep my work grounded. Instead of forming an artwork on myself, I wanted to create something that reflected the surroundings and resonated with the people.

CNTRFLD. You’ve lived in Taiwan, London, and spent time in various other cities. How has your Taiwanese heritage and upbringing shaped your perspective and your work? Do you find elements of Taiwan’s culture reappearing in your practice?

SH. My Taiwanese heritage allows me to see things from a fresh perspective and perhaps adds another layer of meaning to my work. Now that I live in a different zone, I do find the ones However, I believe in the purity of artwork and strive to create pieces that transcend national boundaries!

CNTRFLD. Materiality plays a significant role in your art, from glassblowing to casting and welding. How do you approach the use of materials in your work, and are there any specific techniques or processes that you feel particularly connected to?

SH. I have a deep appreciation for craftsmanship, and materiality has been a central focus of my practice. With a hands-on approach, I try to tackle tasks independently as I am driven to learn and master new intricate techniques.

Detail of Dolphin Screen, 2024, Stained plywood, glass, copper, bronze, mild steel

CREDITS

Divider: Sunday Shopping List (2024) Found object, bronze

CNTRFLD. Relating to our conversation where you mentioned your passion for

bookbinding—and considering Centrefold’s heritage in print-making—how did you get into bookbinding, and how do you integrate this, or plan to, in your artistic practice?

SH. I once worked as a bookbinder in London, an experience that now feels like a distant memory. I have always held an affinity for nostalgic items such as vinyl records, film cameras, and printed materials. Despite being busy these years, I do hope to implement my binding skills into my upcoming projects.

CNTRFLD. You’ve been recognised with several prestigious awards, including the Mark Tanner Sculpture Award and the Grand Prize at the Taipei Art Awards. How have these achievements influenced your career, and what advice would you offer to emerging artists looking to carve out a path in the contemporary art world?

SH. These events unfolded one after another, and I believe I was simply very fortunate. I attribute it to the conducive environment of London as a catalyst city. At the time, my focus was primarily on my work. I didn't attend many openings and had no connections in the art world. I was pleasantly surprised when there were curators and galleries reached out to arrange studio visits. This may not have been the same in other cities.

Recently, I had the opportunity to meet Lubaina Himid at Frieze. She compared art making to a dear friend to whom she has remained loyal throughout both the good and the bad times.

CNTRFLD. Being a woman in the contemporary art scene comes with its own unique challenges. How has your experience been navigating the art world as a woman, and how do you see your role evolving within this space?

SH. I consider myself extra lucky in this regard. Despite being born and raised in Asia, I have never felt pressured to conform to stereotypical, traditional female roles. I have always been determined to pursue art, and I have never felt excluded from doing so because of my gender.

CNTRFLD. Your work often deals with the intersection of mass production, consumer culture, and environmental concerns. What message do you hope your audience takes away from these themes, particularly in the context of today’s global environmental challenges?

I am not an activist, and I often question my authority to dictate people's thoughts and actions. I think the most valuable aspect of an exhibition is being present in the space and experiencing the work firsthand. Although these issues affect all of us and have influenced the work, I prefer to leave the interpretation of the message open to the audience.

CNTRFLD. From your time at the Royal College of Art to your residencies and solo shows, how has your practice evolved over the years? Are there any pivotal moments or shifts that you feel were particularly significant in shaping your work?

SH. I've found working with different materials and realising a concept into a tangible object deeply rewarding. Reflecting on my journey, I have consistently applied the same methodology since broadening my practice beyond oil painting after completing university. I believe that what has evolved is my increased ease with utilising diverse skills and techniques. Regarding what has influenced my work, I have the wonderful people I have met along the way, those collaboration projects with my peers, and the significant amount of time spent in the studio to thank.

CNTRFLD. What upcoming projects or exhibitions are you most excited about? And finally, what advice would you give to young artists, especially those from underrepresented backgrounds, who are seeking to make their mark in the arts?

SH. 2024 has been an eventful year. I am looking forward to having more time for myself and approaching my 2025 solo at the Taipei Fine Art Museum in a more relaxed and less pressured manner.

Each city has its unique vibe and atmosphere, and the people you will meet and befriend will reflect that. I truly consider myself fortunate, but If I could give advice to fellow artists, it would be to stick to what you believe and choose a city to live in that aligns with your values.

The installation Escape from Where We Are is my response to the experiences of staying at home and traveling during the pandemic restrictions between London, Paris and Taiwan, reusing, refiguring and dismantling found materials and objects. I collected most of the materials from streets in Paris and the abandoned childhood home I lived in again briefly during my quarantine in Taiwan.

Cherry Picker, 2023, Plywood, MDF, paint, printed copper sheet, hand-blown glass, powder-coated mild steel, copper leaf, 55 x 40.5 x 5 cm, 112 x 35.5 x 11cm