VANCOUVER, CANADA
WEI CHENG
Be Loved Lid Project 017
In my “Be Loved” series, I repurpose antique lids by integrating them into newly
crafted ceramic jars. These once-discarded and often overlooked lids are given
renewed relevance through vessels designed specifically to receive them. The jars
are spaces of memory and reimagining, challenging assumptions of completeness,
utility, and worth.
The lid in this piece is an antique Japanese example, originally made for an iron
cast kettle used in traditional tea ceremonies. With its stylized bud-shaped knob
resting on a petal-like base, the design suggests it was likely crafted in Kyoto. Such
iron kettles (Kyō tetsubin) were made as unique pairs, with each lid cast in the
same mold as the kettle body and hand-finished to fit precisely. Because of this
bespoke process, replacement lids were never produced, making each one a
singular, irreplaceable object.
Here, I honor that tradition not only by echoing the aesthetic resonance of
the lid through a celadon glaze but also by carefully matching the weight, visual
balance, and rim finish between lid and vessel. I chose a rectangular form, in
contrast to the usual round jar, to create a sense of balance and tension. Layers of
clay were added to build mountain-like textures, suggesting landscapes emerging
through mist. The knob itself leans slightly to one side, perhaps the result of long
years of neglect, but I chose not to correct it. For me, this gentle tilt adds character
and personality, embodying resilience and quiet beauty.
This piece draws on the old Chinese saying “orchids blooming quietly in an empty
valley,” evoking delicacy, fragility, and strength. It is a meditation on how
traditions endure, transform, and continue to bloom across time. At its heart, this
series work, asks us to see value in what has been overlooked, to honor the
imperfect, and to imagine how objects, like people, like us, carry their histories
forward while embracing new possibilities.
Dimensions: 4.7"H x 7"W x 5.7"D
Material: Clay (Wheel throwing, Carving, and Wood firing) and Antique Metal Lid (found objects)
Artwork ships: beginning october 22nd






Be Loved Lid Project 017
Artist Statement
My practice explores the intersections of cultural heritage, identity, and material history, rooted in the ceramic traditions of my upbringing in China and shaped by my life in Vancouver. Clay serves as both a physical medium and a conceptual bridge, connecting past and present, tradition and transformation.
In my “Be Loved” series, I repurpose antique lids by integrating them into newly crafted ceramic jars. These once-discarded and often overlooked lids are given
renewed relevance through vessels designed specifically to receive them. The jars are spaces of memory and reimagining, challenging assumptions of completeness,
utility, and worth.
The process not only restores their utility but elevates their presence, prompting viewers to reconsider how value and beauty are assigned to everyday objects. At
the same time, this intentional pairing becomes a poetic act where the old and the new coexist to suggest continuity, care, and transformation.
Each pairing becomes a quiet conversation between time periods, aesthetics, and intention. By breathing new life into these forgotten artifacts, I hope to spark reflection on our relationship with material culture, impermanence, and the stories that objects carry. This act of transformation is also an act of care, honoring the past while shaping new meaning through craft.
About the Artist
Wei Cheng is a ceramic artist originally from China, now based in Vancouver, Canada. She holds a background in visual arts from Langara College and a BFA from Emily Carr University of Art + Design, where she developed a strong technical foundation and a deep appreciation for the material and conceptual potential of ceramics.
Her work explores themes of cultural identity, migration, and memory through form and surface. As an immigrant artist, she draws from both traditional and contemporary ceramic practices to investigate how material can carry history, narrative, and personal resonance.
Cheng’s work has been exhibited nationally and internationally, with recent presentations at the Ottawa Art Gallery, the Art Gallery of Burlington, the Canadian Clay & Glass Gallery, Canton-Sardine Gallery, and the Italian Cultural
Centre. Her practice bridges traditional ceramic methods with contemporary approaches, creating connections between material history, cultural memory, and personal expression.
WEI CHENG
Artist Residency
2025
• Prince Rupert Community Arts Council
• The Museum of Anthropology at UBC (University of British Columbia)
2023
• Ban; Centre for Arts and Creativity
2022
• Shadbolt Centre for the Arts
CV
2025
Ash and Flash CSA Space, Vancouver, BC, Canada
Ceramics Narratives: A Midsummer Journey. Jig Space, Vancouver, BC, Canada
Fraser Valley Potters Guild 50th Anniversary Juried Show Italian Cultural Centre, BC, Canada
Sustain: Woodfire NC 2025 Starworks, NC, US
Breakthrough PLUS Thames Art Galler, Chatham-Kent, ON, Canada
In Hand II Mikhail Zakin Gallery, Demarest, NJ,US
Formed by Nature (in conjunction with NCECA) Cottonwood Clay Studio, Midvale, UT, US
2024
Coast to Coast to Coast Salon des Métiers d’Art in Montreal, QC, Canada
Ottawa Art Gallery, ON, Canada
Fusion VanCha, West Vancouver, BC, Canada
FIRE: A Celebration of Destruction and Creation Italian Cultural Centre Gallery,
Vancouver, BC, Canada
KC Clay Guild Teabowl National The Arts KC Gallery, Kansas City, MO, US
Breakthrough PLUS Serpa Gallery, Newmarket, ON, Canada
The Gallery of Burlington, Burlington, ON, Canada
Canadian Clay and Glass Gallery, Waterloo, ON, Canada
Sculptors’ Society of BC 50th Anniversary Pendulum Gallery, Vancouver, BC, Canada
Tea (in conjunction with NCECA) Artspace, Richmond, VA, US
Minutiae Alberta Craft Council Feature Gallery, Edmonton, AB, Canada
Alberta Craft Council Feature Gallery, Calgary, AB, Canada
2023
Tea Leaves Banff Centre for Arts and Creativity, Banff, AB, Canada
The Breathe JIG Space, Vancouver, BC, Canada
Yunomi/You Know Me Project Burnaby City Hall, Burnaby, BC, Canada
2022
Beginning's End Langley Centennial Museum & Exhibition Centre, Langley, BC, Canada
China Pavilion West Vancouver Cultural Festival, West Vancouver, BC, Canada
Artist's Choice The Gallery at Queen's Park, New Westminster, BC, Canada
Art Vancouver Vancouver Convention Centre, Vancouver, BC, Canada
Coco Karesansui JigSpace, Vancouver, BC, Canada
Anything Going Away, Wherever remains Canton-Sardine, Vancouver, BC, Canada
Sculpture MAINalley Gallery, Vancouver, BC, Canada
2021
That Pottery Thing North-West Ceramics Foundation, Vancouver, BC, Canada
2020
Love Her but Leave Her Wild Ariel Studio, Vancouver, BC, Canada
Urban Luxury + Magic Belford Experience Centre, Burnaby, BC, Canada
2019
Immortal of Play Canton-Sardine, Vancouver, BC, Canada
Best BC Ceramics Lipton Gallery, Richmond, BC, Canada
Art Vancouver Vancouver Convention Centre, Vancouver, BC, Canada
Shape of Cups Southern Song Dynasty, Hangzhou, Zhejiang, China
Celebrate Culture Days Shadbolt Centre For The Arts, Burnaby, BC, Canada
2018
Qi Chinese Cultural Centre Museum, Vancouver, BC, Canada
Art Vancouver Vancouver Convention Centre, Vancouver, BC, Canada
2017
Eastside Culture Crawl Mobile 22 Gallery, Vancouver, BC, Canada
Beautiful Canada Through My Eyes Chinese Cultural Centre Museum, Vancouver, BC, Canada
Fireworks R Space, Vancouver, BC, Canada
What You Looking at?! Plaza Projects, Richmond, BC, Canada
2016
Onething Upon A Time R Space, Vancouver, BC, Canada
Atmospheric Gallery of BC Ceramics, Vancouver, BC, Canada
2014
Through Space and Time Chester Beatty, Dublin Castle, Dublin 2, Ireland
My Raft of Hope Shanghai Himalayas Museum, Pudong, Shanghai, China
Bitter Sweet Emily Carr University of Art and Design, Vancouver, BC, Canada
Through the Something Scape Emily Carr University of Art and Design,
Vancouver, BC, Canada
Other works from the WHAT HOLDS Exhibition