White Tubes' Form

by Mingshu Li Norway

3.000 Incl.0% TAX

1 in stock

Insured Delivery: 300
Est delivery: Mar 3rd, 2022
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1 In stock and ready to ship Ceramic sculpture without glazes.
Dimension LxWxH (cm): 34x34x40
Unique Pieces Material : Porcelain
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“All my works are focused on two keywords: holes and airflow. I believe a hole itself has as much shape-meaning as a solid mass. I use holes as the extension of the surface and enter into a dialogue with the material to discover something new: space. Also, I’m working with holes to represent airflow. In Chinese, we use “qì” to describe air. This multiple-meaning character also symbolizes breath, material energy, and energy flow. I’d like to let my works express those energies—not only in a kiln, but also when displayed in a physical exhibition space.

The hand-held clay extruder is a very important tool of my recent art practice. I found it’s almost the best tool explaining the ideas of holes and airflow at the same time. When I press the clay into the extruder, the reaction of clay shows me how strong it is; the air bubbles in the clay always pop and make holes in the sculpture. Therefore, I combine the methods of extruding and coiling to create ceramic sculptures.”

Additional information

Weight 2 kg
Dimensions 20 × 20 × 30 cm
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About the designer

Mingshu Li

An emerging ceramic artist based in Oslo, Norway, Mingshu Li was born in 1994 in China and went on to obtain a Masters in Medium and Material Based Art at the Kunsthøgskolen i Oslo in 2018. She has participated in exhibitions for the past three years both nationally and internationally.

Mingshu was highly inspired by the environment around her and represented it in her works. She has been exploring non-traditional ways of using clay for making sculptures, understanding how clay can be utilized as a medium to make sense of who she is and where she lives.

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.