Ellen Yiu left Hong Kong at the age of twelve for boarding school in the UK. Her work draws inspiration from personal anecdotes. “My practice is like a tactile visual diary, often rooted in memories,” Ellen says. “I like to turn small details into universal stories.”
Intimacy
A fascination with the tactile is at the core of Ellen’s practice. “I work with many materials and techniques, from woodworking and weaving to bookbinding,” Ellen says. “In a world that feels increasingly disconnected from physicality, especially after the pandemic, I find comfort in what’s tangible. I often start with something personal, which then slowly evolves into a work. Much of my work is small and detail oriented, but I also make large-scale installations. I often use unusual materials, such as hair, discarded matter, food, because it challenges perceptions of value, beauty, scale, and functionality. It’s in this vulnerability and attention to detail where I find my connection with others.” As a small child, Ellen used to play in the textile workshop of a family friend in Hongkong. Here she was introduced to weaving, dyeing fabrics and sewing. It was a sort of point of departure. “I still love weaving. It encompasses so much of my practice. It’s meticulous but can also be enormously creative. It’s limitless – almost anything can be made into a fibre.”
Medicine and vulnerability
Ellen’s art is also influenced by her lifelong struggle with chronic illness. Her journey towards healing has led her to explore a variety of treatments, including traditional Chinese medicine, Reiki, and homeopathy. “For a long time, I tried not to let my condition affect my life, telling myself to stay strong,” she recalls. “But through sharing my experiences in my art, I discovered the power of vulnerability. That vulnerability not only connects me to my audience but also adds a depth to my work that I hadn’t anticipated.” She approaches heavy existential themes, such as health, family, and identity, with a playful touch. “There’s always an element of humour in my work,” she notes. Ellen’s interest in holistic healing extends beyond art. She is also certified in the GYROTONIC® method, a movement practice that draws on yoga, dance, and martial arts. ‘’It’s not only a way to care for my body and mind, but it also gives me a community outside of the art world.‘’
A connection to tradition
Ellen reflects on her upbringing and cultural identity with a sense of curiosity. “I left Hong Kong at such a young age that I never really learned enough about my culture,” she says. “I often don’t feel like I fully belong anywhere, but once I accepted that, it became part of who I am.” This longing for a deeper connection to her roots is a recurring theme in her work. ‘’I’m always drawn towards the past, to traditional crafts and stories from my childhood. Reinterpreting these traditions creatively allows me to stay connected to them. I also don’t want to lose touch with the physical processes of creating art.”
What if…
What if she won the Piket Art Prize in her category? “It would be transformative for my art career,” Ellen says. “I would very much like to hire a graphic designer to create a professional website, and bring in assistance to help with my more labour-intensive projects. The prize would also allow me to invest in essential equipment like a weaving loom, a coverstitch machine and woodworking tools, which would expand my creative possibilities. And I would use the funds to take specialised workshops and courses in areas such as lacemaking, jewelry making, and glassmaking, to deepen my skills and enrich my artistic practice.”
Text: Anna Beerens
Photo’s: Dana La Monda
