Presented here is a breadth of concepts that trace Tan’s ongoing exploration of ceramics as both medium and language. His Ego Death series features paired masks that reflect the patterns he perceives in the world—dichotomies, paradoxes, and dialectics. The outer surfaces suggest the dualities we present outwardly, while their inner forms evoke the layered and often intricate terrain of the subconscious.
If Ego Death contemplates the tension between inner and outer worlds, the Aquaeous series turns toward something more elemental and intimate. Centered on water and his relationship to it, the works draw from his upbringing along the tropical shores of Palawan. His ceramic corals emerge as both homage and offering—a “love letter” to the ocean—capturing the experience of standing before a force that is at once fluid, vast, and uncontainable. Through these forms, Tan translates movement, depth, and quiet power into a tactile visual language.
Complementing these explorations are his Bauhaus-inspired ceramics—espresso cups, mugs, and matcha sets—which foreground function without sacrificing form. These works articulate his grounding in design, demonstrating a sensitivity to utility while maintaining a distinct artistic voice. Together, they reveal the range of his practice and his ability to move seamlessly between expression and purpose.
In his maiden exhibition, “It’s All In My Hands Now”, Tan embraces autonomy and creative freedom. The collection of ceramic works—where function and artistry converge—serves as both an ode to his commitment and a testament to his growth. More than a presentation of objects, the exhibition reveals an artist fully stepping into an identity long in the making, offering not just works, but a narrative of becoming.
