U is for UTOPIA — An ABC
Dec 2024 Issue #5
More highlights from our growing archive of Aotearoa Asian art, selected by some of the Satellites team.
Stacked pieces on Walk in the Park workroom shelves, date unknown
Photo by Jiho Yun
Rosabel Tan — Satellites Director
I’ve been a long-time admirer of Walk in the Park, and it was a joy to recently learn more about Sam’s approach to his woodwork. Drawing inspiration from nature, architecture and his own emotions, Sam works with locally sourced timbers that might be ‘regarded as seconds or failed grade due to the defects, knots or cracks’, creating utilitarian pieces that honour their natural form. I’m also a big fan of the slow, iterative experimentation he has described when trying out new techniques, including, most recently, using black sand from Muriwai to arrive at a new staining method.
Wilbur Hsu, For the 身體 Shēntǐ [Body] a 1 of 1 Charmed Beaded Sash made of 7 Bronze Charms and found Honey Jade Beads held by Silk String, 九 JIǓ [9], 2022
Photo by Matt Hurley
JingCheng Zhao — Artist and Satellites archivist
While writing about Wilbur’s practice, I often found myself gasping: wow, this is beautiful. The more I look, the more I like his work, the more new details I discover. Wilbur’s craft — whether in clothing, jewellery, home decor — feels broad yet deeply grounded. No matter the medium, he is building a shelter from his memories, creating something new to be shared. What’s precious about Wilbur is his sincerity. It takes courage to confront the complexity, cruelty, sensitivity that memory holds. The works he crafts, processed through his heart, are unpretentious, gentle, humble, and possess a strength that can’t be ignored. Wilbur describes his work as ‘poetic communication’. Beyond the intrinsic charm of poetry as an art form, Wilbur’s work also reflects his craft in capturing indescribable emotions and his careful pursuit of a hidden, personal honesty. This invites audiences to take their time, allowing their own true hearts to see Wilbur’s sincerity.
Purple irises being replicated in silver chainmail
Photo by and courtesy of Jenny Takahashi Palmer
Emma Ng — Satellites Editorial Director
A few months ago, Van Mei wrote about Jenny Takahashi Palmer for the archive, highlighting her intricate kanzashi 簪 (hair ornaments) and kushi 櫛 (hair combs), which feel exquisite, fresh and timeless all at once. I love the collection of photographs that Jenny and Van pulled together to accompany this entry; they beautifully illustrate how Jenny draws inspiration from the natural world, transforming her observations into delicate silver. My favourite example is the photo she shared of purple irises in full bloom, saying that when she saw them at her aunty’s place she ‘instantly wanted to make them in silver chainmail, their delicacy and drapery.’ In the archive you can also see the chainmail irises in progress, offering an insight into Jenny’s process and craft.
