🏺 -> Explore the Christopher Chau's Collection

True art is a conversation that travels across generations, often hidden in the quiet corners of history. Lately, I have found myself immersed in a fascinating journey of discovery—one found within yellowed newspaper clippings and museum archives.

In researching the origins of the pieces I handle every day, I have uncovered a remarkable legacy. It has been a profound experience to "dig out" the history of my teacher, Christopher Chau (周立業), and realize the depth of his influence as a pioneer of Hong Kong’s ceramic history. From critically acclaimed exhibitions in the 1980s to diplomatic cultural exchanges, his footprint is woven into the very fabric of our city’s art scene. I founded Day Dreaming Shop as a space to share these discoveries—and the remarkable works that emerge from this storied heritage. 

 Documenting History: The 1980s Catalyst A snapshot from the 1991 "Art in Hong Kong" pamphlet published by the Hong Kong Museum of Art. This archival document chronicles the pivotal 1980s—an era when the return of overseas-trained artists, including my teacher, Christopher Chau (周立業), acted as catalysts for change. By introducing Western studio ceramic techniques and a spirit of individualism, this group redefined the local landscape, bridging traditional heritage with a contemporary, international vision.   ( Source: Hong Kong Museum of Art, Urban Council, c. 1991 )

Pioneering Through Neglect: The 1980s Movement

In 1983, the Hong Kong pottery scene was described by critics as "neglected," with artists lingering in an "invisible existence".  Facing a lack of professional facilities and a scarcity of raw materials, a small group of visionary potters—including Christopher Chau —persisted.

Having studied Studio Ceramics at Chesterfield College of Art & Design (UK), Christopher returned to Hong Kong in 1980, bringing with him a sophisticated blend of British and Japanese techniques. While many students of that era focused primarily on form, Christopher recognized the vital importance of the "science" of the craft. He worked closely with a lecturer in England who specialized in glaze chemistry, gaining rare knowledge that his peers often overlooked in favor of commercial glazes.

Upon returning to Hong Kong, he dedicated himself to intensive, independent glaze-mixing and testing, exploring the "Life of the Clay" by treating the medium as a living, organic entity. His work became celebrated for its intricate crystalline glazes—the result of the meticulous glaze-mixing skills he had mastered through years of patient experimentation. Featured in landmark exhibitions like "Clay" (1983) and "Hong Kong Pottery Today" (1984), his pieces remain a testament to his resilience and his role in redefining local ceramics. 

 A glimpse into the 1980s Hong Kong ceramics scene:  This archival clipping from the October 1983 issue of B Magazine features the exhibition "Clay," held at the Hong Kong Arts Centre. The show brought together 16 local potters, including Christopher Chau, bridging the gap between traditional craftsmanship and contemporary art. The article by Petra Hinterthür highlights the emerging "creative deed" of Hong Kong's ceramic artists at the time. "

Note: Christopher’s surname was occasionally documented as 'Chow' in some early local publications, such as this feature in B Magazine.

" Remark: This exhibition was the first major institutional survey of contemporary ceramics in Hong Kong.  It established the 1980s "New Wave" returnees as the definitive leaders of the craft, blending international studio techniques with local heritage. 

The 1984 City Hall Landmark

Documenting History: A Milestone for Hong Kong Ceramics  ~ Archival feature from Ceramic Review ~ September October 1984, Number 89 covering the landmark "Hong Kong Pottery Today" exhibition at the City Hall. This record captures a pivotal shift in the city’s art history, as pioneers like Christopher Chau (周立業) transitioned from the "invisible existence" of early studio pottery to the forefront of the modern art movement. 

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Spotlight: A Diplomatic & Artistic Milestone “Two Hongkong Potters” 

In June 1984, a prestigious cultural exchange took place at the American Library in the United Centre, Admiralty. This landmark exhibition, titled “Two Hongkong Potters,” was a joint presentation of the Urban Council and the American Consulate-General, signaling the rising international status of Hong Kong’s contemporary art scene.

The exhibition showcased a fascinating contrast in vision between two locally born, internationally trained artists and friends: Francis Wu (胡家強) and Christopher Chau (周立業). While Wu, who received his fine arts education in the United States, presented experimental sculptural wall plaques and mountain-like forms, Chau brought his British training to bear through his meticulously thrown porcelain vessels and "fruit-inspired" organic shapes.

The exhibition was officially inaugurated on June 26 by George Bonjoc, Cultural Affairs Officer of the American Consulate-General. This high-level diplomatic support provided a significant stage for both masters, marking a definitive moment where local ceramic mastery met international cultural dialogue. 

 Cultural Exchange: The 1984 "Ceramics Display" Feature

Archival record from the Hong Kong Standard (June 1984) covering the joint exhibition of Francis Wu and Christopher Chau. The feature notes their diverse international backgrounds—Wu in the U.S. and Chau in England—highlighting how their combined perspectives helped modernize Hong Kong’s studio ceramics.  

 A Critical Milestone: The 1984 SCMP Review

Archival clipping from the South China Morning Post (June 27, 1984) titled "Exhibitor goes to pot on wall plaques." While the headline references the experimental wall-works of his contemporary, the review provides an extensive appreciation of Christopher Chau’s (周立業) mastery of thrown vessels. Nigel Cameron highlights Chau’s range from elegant, long-necked stoneware bottles to his "fruit-resembling" porcelain forms—pieces described as having a "quiet presence" and a tactile, organic quality. 

Remark: This historic exhibition was reviewed by the late art critic *Nigel Cameron (1920–2017), widely regarded as the preeminent dean of Hong Kong art critics. His decades of scholarly insight helped define the narrative of contemporary art in the region, and he commended Chau’s mastery of technical glaze chemistry, noting his unique "strawberry-to-raspberry" color palettes. While these historic pieces remain part of the artist's private collection, we have included color photography here to bring the vivid tones of his 1984 "fruit forms" to life.  (*Learn more about the legacy of -> Nigel Cameron )

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The "Eco-Friendly" Potter: A Humorous Beginning

Christopher often shares a lighthearted story about how his love affair with clay began back in 1972. It wasn't just about artistic passion; it was also about a rather funny "technical difficulty." He initially dreamed of becoming a pianist or a painter, but there was one problem: his excessively sweaty palms! His hands were simply too slippery for the piano keys and too damp for the canvas. 

He eventually found his true calling at the potter's wheel. His teacher even joked that he was the most "efficient" student in the studio because he didn't need to add any extra water while throwing a pot—he provided his own!  As Christopher fondly remembers, it was his own unique way to "save water." 😂 

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 A Glimpse of the "Child-heart": From 1984 to Today

Then and Now: On the left, an archival clipping from June 1984 documents the opening of the "Two Hongkong Potters" exhibition. The image captures the debut of Christopher Chau’s (周立業) favorite "BBQ Pork Buns" (叉燒包)—a whimsical series that translated memories of home into porcelain. On the right, these same cherished pieces—commended by Nigel Cameron for their unique "strawberry-to-raspberry" glaze chemistry—are seen today, their rich colors still as vibrant as the day they were fired.  

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Conclusion: A Living Conversation

The journey of "digging out" these archives has been more than just a historical exercise; it has been a profound reminder that true art is a living conversation. Christopher Chau’s legacy is not confined to the yellowed pages of 1980s newspapers or the quiet shelves of a private collection. It lives on in the technical rigor, the playful "Child-heart," and the enduring philosophy of the "Life of the Clay" (坭的生命力) that he continues to champion today.

I founded Day Dreaming Shop to be a custodian of these stories and a bridge for this heritage to reach a new generation of collectors. While the historical "fruit forms" and exhibition milestones remain cherished treasures of the artist’s past, the mastery that created them is very much alive in his current work. 

Visit the Collection

We invite you to explore the Christopher Chau Collection at Day Dreaming Shop. Each piece is a continuation of this forty-year journey—a unique blend of British-trained glaze chemistry and a deep, intuitive respect for the medium of clay. By bringing a piece of this legacy into your home, you become part of a story that began in the pioneering studios of 1980s Hong Kong and continues to evolve with every firing of the kiln. 

 A Lifetime of Form and Color ~ The Artist’s Archive: A Legacy of "The Life of the Clay"

This selection from Christopher Chau’s (周立業) private collection spans decades of technical and artistic evolution. From the whimsical "Strawberry" porcelain forms that captured the imagination of critics in 1984 to the sophisticated organic stoneware vessels featuring his signature leaf-imprints and crystalline glazes, each piece tells a story of curiosity and discipline. 

 🏺 -> Explore the Christopher Chau's Collection

 

Education:

1972-76  O & A Level, Pottery Foundation Art Kettering Technical College (UK)

1976-77  Integrated Design Course

1977-80  Studio Ceramic Course

Chesterfield College of Art & Design (UK)

Selected Exhibition:

2018  Nov 30~ Grand Opening Exhibition of Zuihodo (瑞宝堂) Art Gallery, Tokyo Ginza, Japan

2018  The 3rd Guangdong Comtemporary Ceramic Art Exhibition, the Guangzhou Academy of Fine Arts University Town Art Museum, China

2016  The 2nd China Contemporary Ceramic Art Exhibition, National Art Museum of China (NAMOC), Beijing, China

2013 Tea Ware by Hong Kong Potters 2013, Selected Works of the Open Category~Mandarin (Red clay & pottery, throwing), Flagstaff House Museum of Tea Ware, Hong Kong 

2013  The 2nd China Kaolin Grand Prix for International Ceramic Art, Jingdezhen, China

2013  The 1st Guangdong Contemporary Ceramics Art Exhibition, the University City Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, China

2012  The 1st China Contemporary Ceramic Art Exhibition, China Artists Association, Beijing, China

2003  Legend of Hong Kong Ceramics (燒窰遊傳奇) , Hong Kong Ceramics Society, Exhibition Gallery, Tsuen Wan Town Hall, Hong Kong  View Archive Record (Asia Art Archive) 

1986  Christopher Chau & Students Ceramics Exhibition, Hong Kong Arts Centre, Hong Kong

1985  Christopher Chau & Students Ceramics Exhibition, Hong Kong Arts Centre, Hong Kong

1984  Two Hongkong Potters Exhibition (香港陶藝二人聯展),  the Urban Council and the American Consulate-General, American Library, United Centre, Central, Hong Kong   

1984  Hong Kong Pottery Today (今日香港陶藝), Hong Kong Museum of Art, Exhibition Gallery, High Block, City Hall, Hong Kong View Archive Record (Asia Art Archive) 

1983  “Clay” (坭陶): Exhibition of 16 Local Potters,  Art East/ Art West, the Pao Sui Loong Gallery, Hong Kong Arts Centre, Hong Kong 

Beyond the Wheel: Discovering Hong Kong’s Ceramic Heritage

As I researched Christopher’s 40-year journey, I realized I was doing more than just documenting a teacher’s life—I was uncovering a forgotten chapter of Hong Kong’s art history.

In the 1980s, while the city was rapidly modernizing, a small group of visionary potters was quietly leading an 'energy push' in contemporary ceramics. By digging through physical archives and 1984 newspaper clippings, I’ve had the privilege of reconnecting with a period of intense creativity that helped define our local artistic identity.  Sharing Christopher’s work isn't just a business for me; it’s a mission to ensure this pioneering heritage is recognized and preserved for the next generation of creators." 

In appreciation of the heritage,

Shannon Cheng Student of Christopher Chau & Founder of Day Dreaming Shop 

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🏺 -> Explore the Christopher Chau's Collection 

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