Dappled Dawn Drawn: Jynsym Ong

The collection of vessels embodies the idea of ritual—both known and as yet to be discovered. They hold the inherent function of a vessel carrying with them the connotations of containment protection and offering. Many of the lids are crowned with houses as finials: the house itself is a vessel both symbolically and literally. Designed to burn incense these pieces invite an intimate ritual. The roof lifts away to reveal a space where an incense cone is placed and lit , as the smoke rises through the chimney it animates the small image of the domestic—transforming a simple house into a living home.

The candle-holder vessels suggest yet another form of ceremony. They bestow significance upon whatever they contain as the rising smoke sanctifies and formalises their presence. Through their scent light and texture they engage multiple senses elevating daily routines into moments of reverence. These works echo my ethos: to create objects that celebrate the everyday giving weight to small acts and uncovering the beauty of the quotidian. While they are special they remain rooted in the domestic—the house at their centre, a timeless symbol of belonging.

Some vessels are topped with lion dogs—Koma-inu—serving as alternate finials. These guardians can be read as familiar or mythical: dog lion or dragon. They protect and watch over the sanctity of the home.

Central to these works is the process of wood firing—the most ancient method of firing ceramics. This technique gifts each vessel with a surface alive with nuance and unpredictability a richness unattainable by any other method. Colour and texture shift across their forms shaped by the spontaneous elements of the firing. Ash and volatile salts carried by the flame settle on the clay interacting with its minerals to create a natural glaze that is impossible to fully control.

These glazes reveal endless variations—smooth and glossy in some places rough and sharp in others—each telling the story of its journey through fire. The vessel’s position in the kiln influences its transformation: some are bathed in heavy coats of ash near the firebox while others receive only soft whispers of the flame. Even the placement of one pot in relation to another alters the flame’s path making every surface unique. Loading the kiln becomes an act of envisioning the fire’s movement as it paints with flame and ash. Each vessel emerges as more than a functional object, it is a testament to the unpredictable collaboration between maker material and elemental force.