2014-2016: Master of Arts in Ceramics and Glass; Royal College of Art, London
2013-2014: Advanced Certificate in Studio Art; New York University
2008-2012: Bachelor of Arts in Business Economics, Minor in French; University of California, Los Angeles
2018 Solo Residency Exhibition; Shigaraki Ceramic Cultural Park
2017 Steinbeisser 5th Anniversary Experimental Gastronomy; Amsterdam
2016 RCA School of Material Graduate Show; Royal College of Art, London
2016 In Context; 7 Wetherby Gardens, London
2016 The Emerging and the Established; Christie's South Kensington, London
2016 RCA School of Material Work-in-progress Show; Royal College of Art, London
2015 Off-Centre; Hockney Gallery, Royal College of Art, London
2015 Food Adventure: An Artistic Feast in Footwear; Saatchi Gallery, Gallery Mess/Upstairs, London
2015 RCA School of Material Graduate Fashion Show; Royal College of Art, London
2014 RCA School of Material Work-in-progress Show; Royal College of Art, London
Bursaries and awards
2015 Perrier-Jouët Arts Salon nomination
2015 The Jameson Works Bursary recipient
2017 Artist-in-Residence, Shigaraki Ceramic Cultural Park
2019 The French Laundry; Yountville, California ***
2019 Shoun Ryugin; Taipei, Taiwan **
2019 L’Atelier de Joel Robuchon; Taipei, Taiwan *
2019 Helene Darroze at the Connaught; London, UK **
2018 Maum Restaurant; Palo Alto, California *
2018 nku Restaurant; Taipei, Taiwan
2018 MW Restaurant; Honolulu Hawaii
2017 Dominique Ansel Bakery; London, UK
2016 Senia Restaurant; Honolulu, Hawaii
2016 Kitchen Table; London, UK
2015 Dominique Ansel Unlimited Possibilities; New York City, New York
2014 Xian Wei; Los Angeles, California
2013 Vintage Cave; Honolulu, Hawaii
Before I started at the Royal College of Art, I had plans to attend culinary school in Paris. Most of my interests were based in food, having done some food writing and food photography for my own food blog (www.foodjetaime.com) and Los Angeles Magazine. Then, I staged at a fine-dining restaurant, which made me realize it took a certain kind of person to survive in the intense environment of a kitchen, and unfortunately, I was not that kind of person. At around the same time, I learned how to throw on a potter’s wheel and completely fell in love with clay. Now, I’ve combined my two passions—ceramics and food. What is food without a plate?
Folllow the journey on Instagram with #christinaliuceramics!
Making tableware has become a perfect marriage of my two greatest loves – food and ceramics. My interests lie in the interactions between the plated food, the vessel, and the diner, with the goal of enhancing the beauty and experience of cuisine through exquisite tableware.
Though an emphasis on serving ware is a recent development in western cuisine, the vessel has always been an integral part of the dining experience in Japanese cuisine. While having a kaiseki meal in Kyoto, it quickly becomes apparent that the plates don't match each other; rather, they're meant to match the foods they present. The vessel is held in such high regard that it is not unusual for components of a dish to occupy a smaller area so that diners may also appreciate the beauty of a ceramic plate. I believe that tableware should serve as more than just a blank canvas for the art of food. When the plated food and the vessel exist in harmony, they most effectively convey the culinary message of the artists—both chef and ceramicist.
Although my work is deeply rooted in functionality, it is not limited by it. The pieces I create are meant as vessels for the serving of food, but they are not merely utilitarian plates or bowls. They are works of art in themselves, intricate objects that invoke a sense of luxury, to be admired and brought onto the dining table only for extraordinary meals. I describe my work as “sculpturally functional,” where the restaurant is my gallery and the spotlight is on the dining table.