[Komachi Engi] Amanda Tong — Where She Stands Now

When I was first drawn to Amanda Tong’s work, it was through her “Perfect Imbalance” series — monochrome forms infused with a sense of yin and yang. I still remember how deeply I was captivated by the quiet presence where Eastern philosophy and British design sensibility gently overlapped.

As I gradually came to learn more about her background and way of living, my interest in her work only deepened. Her artworks are not separated as something special or detached from life; rather, they exist naturally as an extension of her daily life and values. That very way of being seems to enrich the world her works inhabit.

Since studying ceramic design at a university in London, Amanda’s practice has consistently been tied to the environments and cultures around her, and to the stories of the people living there.

“Ever since studying ceramics at university, I think my work has always been about the stories and cultures around me. Living in different parts of the world allowed me to experience different lifestyles, and I’ve woven those experiences into my work.”

Her current life clearly follows the rhythm of the seasons. From spring through summer and autumn, she not only works in the studio but also actively engages in projects connected to the local community and environment, maintaining a close relationship with both land and people.

“Working with farmers, touching the soil, understanding where food comes from, and spending time with plants from different parts of the world have had a huge influence on my practice.”

Out of these accumulated experiences emerged the “Mono no aware” series, which we have been carrying at our gallery since the end of last year and which is featured in this exhibition. Each piece holds the colors and atmosphere rooted in a particular place and season.

“The works in Mono no aware reflect the land and the season itself. During an artist residency in Shigaraki, I collected leaves from trees I found there and used them for dyeing. I wanted to cherish the feeling of being alongside nature as it changes.”

In contrast, when winter arrives, she steps away from making and moves to the mountains. Her time spent snowboarding, coaching, and training becomes both a physical and mental turning point.

“In winter, I rest my hands and spend time in the snow mountains. The change of environment gives me time to reorganize my thoughts, and by the end of the season, I can return to making with a refreshed mindset.”

Through living in Japan, she has come to feel more deeply the beauty of living in harmony with the seasons.

“Living in Japan has taught me the importance of living in tune with the seasons. It has been a truly great gift for me.”

When asked about where she now stands as an artist, she says:

“As life goes on, I feel that everything gains more depth. Now I can feel that not only achievements but also failures and doubts are shaping who I am.”

Regarding her long-running “Perfect Imbalance” series, she also acknowledges a shift in perspective.

“For the twelve years I worked on Perfect Imbalance, I think I was placing certain limitations on myself. Recently, I’ve learned to let go of those constraints and to accept the natural evolution of my work more freely.”

As mentioned earlier, I myself was deeply drawn to the yin–yang sensibility in Perfect Imbalance — the intersection of Eastern philosophy and British formal awareness. In Mono no aware, however, a distinctly Japanese sense of transience is added, bringing a deeper and quieter strength to her work. At the same time, Amanda’s characteristic healthy and graceful imbalance feels even more pronounced.

Looking toward the future, her gaze is turning toward the environment.

“As climate change becomes more serious, I feel a responsibility as a maker to consider waste and the environmental impact of my practice.”

Her interest in Circular Ceramics explores the application of circular economy principles to ceramics, minimizing waste in the process of making.

“Creating with reduction, reuse, and recycling in mind can reduce dependence on limited resources and lessen the burden on the environment.”

Working together with nature while balancing beauty and responsibility — this is where Amanda Tong stands today. An ethical, healthy lifestyle and supple forms are seamlessly intertwined. Living with the seasons, touching the soil, resting her hands, and returning to making. These rhythms of life and thought directly inform the shapes, colors, and presence of her works.

She now moves effortlessly between expression and life, philosophy and form, continuing to make in places and times that feel honest to herself.

This is the place where I feel Amanda Tong stands today.