EKWC@Princessehof: Pei-Hsuan Wang

The Extent of Our Union

From 7 June until 26 October 2025 the Princessehof National Museum of Ceramics will present a solo exhibition by Pei-Hsuan Wang. Wang’s work often draws on personal and familial histories, focusing on ties that span both past and present – the bonds between generations, and how kinship is remembered and reshaped as family members move across the globe. During her recent residency at the European Ceramic Work Centre (EKWC) in Oisterwijk, the Taiwan-born artist immersed herself in sancai, an ancient glazing technique dating back to the Tang dynasty (618-906). Together, the five works in the exhibition form an installation that offers a meditation on lineage, mortality, and spiritual continuity. Three of the sculptures were created during her recent residency at the EKWC. EKWC@Princessehof: Pei-Hsuan Wang - The Extent of Our Union is Wang’s first solo exhibition on Dutch soil.

Wang sees sculptures as vessels - carriers of energy, prayers, and visions. The sculptures in the exhibition were made in the aftermath of the coronavirus pandemic and reflect a personal meditation on spirituality and belonging, themes that recur throughout her recent projects. At the EKWC, Wang delved into sancai ceramics dating back to the Tang Dynasty: sculptures and vessels once used as funerary goods, symbolising status and protection. This multicoloured glazing technique partly emerged from cultural exchanges along the Silk Road. The mythical creatures and animal figures in the exhibition evoke care and transformation, embodying the stories of diasporic individuals and communities seeking their place in an ever-changing world.

Statue of Asking: Threshold Guardian II, 2022 | The Princessehof National Museum of Ceramics - acquired with support from the Mondriaan Fund

Huddled Mass (Tree of Aunties), 2023 | courtesy of the artist

About the artist
Pei-Hsuan Wang (b. 1987, Hsinchu, Taiwan) lives and works in Ghent, Belgium. Her work explores cultural hybridity and how identity is shaped through migration, prompting her engagement with themes such as family history and Taiwanese mythology. Through a subtle interplay of traditional techniques and contemporary interpretations, Wang asks questions about heritage and belonging in a world that is constantly evolving.

Wang has exhibited at STUK Leuven, the Taipei Fine Arts Museum and the National Gallery of Indonesia, among others. Recent solo exhibitions include Every Love Story Is a Ghost Story, part of the Triënnale Kortrijk at rhizome_, Kortrijk (2024), Gratitude Is A Colored Vessel at Ballon Rouge, Brussels (2023), Ghost Eat Mud at Kunsthal Gent, Ghent (2022), I’ve Left My Body to Occupy Others at Good Weather, Chicago (2020), For Iris at Gallery 456, New York (2020) and You Are My Sunshine at the Taipei Contemporary Art Center (2019).

EKWC@PRINCESSEHOF
Annually, around 60 artists spend three months at the EKWC, where they have the opportunity to experiment with ceramics. The aim is to encourage the development of ceramics in fine art, design, architecture and sound. The Princessehof is constantly searching for new perspectives and techniques in ceramics, and so each year it invites two artists to present the results of their residency at the EKWC in the museum.

This exhibition is co-sponsored by EKWC and the Mondriaan Fund.

Partners of the Princessehof: Ottema-Kingma Foundation, Association of Friends of the Princessehof National Museum of Ceramics and Club Céramique.

The Princessehof National Museum of Ceramics is co-funded by the Ministry of Education, Culture and Science and the Municipality of Leeuwarden.