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New Export China: Translations Across Time and Place in Contemporary Chinese Porcelain Art, Berkeley: University of California Press, 2023 (forthcoming).

Book chapters

‘Chinese Art’, HG60: Hamilton Gallery 60th Anniversary, Hamilton: Hamilton Gallery, 2021: 142-67. Reviewed for ABR Arts by Christopher Menz.

‘The Fugitive Luxury of Porcelain in Contemporary Chinese Art’, The Allure of Matter: Materiality Across Chinese Art, edited by Orianna Cacchione and Wei-cheng Lin, Chicago: Smart Museum of Art/University of Chicago Press, 2021: 276-303.

Peer-reviewed journals and magazines

The Aesthetics of Export in Chinese Art Outside China‘, Journal of Contemporary Chinese Art 9, no. 1-2 (July 2022): 19-43.

Material Chineseness: Ink and Porcelain in Contemporary Art beyond National Borders‘, Australian and New Zealand Journal of Art 21, no. 1 (September 2021): 58-74.

Floral resistance to authoritarianism and incarceration in porcelain installations by Ai Weiwei and Cai Guo-Qiang‘, esse arts + opinions, no. 99 (April 2020): 70-77. Author interview available on YouTube.

Guan Wei’s “Australerie” ceramics and the binary bind of identity politics‘, Index Journal, no. 1 (March 2020).

“Splendid Deformities”: An emancipatory critique of cultural homogeneity in Sin-ying Ho’s deformed ceramics‘, View: Theories and Practices of Visual Culture, no. 24 (January 2020).

La maladie de porcelaine: Liu Jianhua’s Regular/Fragile (2007) at Oxburgh Hall and the history of massed porcelain display in English aristocratic interiors‘, Oxford Art Journal 42, no. 3 (December 2019): 253-81. Awarded the inaugural Oxford Art Journal Essay Prize for Early Career Researchers

Remembering people and places past/passed in contemporary ceramics by Ah Xian, Ai Weiwei, Sin-ying Ho and Liu Jianhua‘, Garland, no. 15 (2019).

Smashing vases: Ceramics and the aesthetics of destruction in works by Ai Weiwei and Liu Jianhua‘, ESPACE Art Actuel, no. 122 (Spring-Summer 2019): 36-45.

The China/Avant-Garde exhibition and Xiao Lu: 30 Years On‘, 4A Papers, no. 6 (2019).

The visual and tactile experience of the monochrome: Mapping surfacescapes in Ai Weiwei’s Colored Vases and Liu Jianhua’s Container series‘, TAASA Review 28, no. 1 (March 2019): 4-6.

‘Drifting through the Porcelain Capital: Art residencies and the enforced continuity of an illustrious past in Jingdezhen, China’, Kunstlicht 39, no. 2 (2018): 39-49.

Sin-ying Ho’s Garden of Eden‘, TAASA Review 26, no. 4 (December 2017): 12-14 & cover image.

Negotiating ‘Chinese-Australian’ Identity: Ah Xian’s Dr John Yu (2004) and his China China series (1998-2004)‘, Australian and New Zealand Journal of Art 17, no. 1 (August 2017): 33-53. – Awarded the 2018 Best Scholarly Article in the Australian and New Zealand Journal of Art Prize

Flesh and Clay: Ah Xian’s Porcelain Body-Casts‘, Fine Print, no. 8 (2016).

Exhibition reviews

‘Xu Zhen: Eternity Vs. Evolution’ at the National Gallery of Australia, Canberra‘, Ran Dian, 16 December 2020. (‘Xu Zhen: Eternity Vs. Evolution’ at the NGA, Canberra, 14 March 2020-14 March 2021)

Bringing colour to forgotten histories in Gary Carsley’s ‘Chromophilia’‘, AMA Blog, 18 November 2020. (‘Chromophilia‘, Institute of Classical Architecture & Art, New York)

The art of lockdown‘, AMA Blog, 15 September 2020. (Camila Galaz, Unwelcome Visitant; Laresa Kosloff, Radical Acts)

Love and conflict @ the National Portrait Gallery and UQ Art Museum‘, AMA Blog, 2 September 2020. (‘Australian Love Stories’, National Portrait Gallery, Canberra; ‘Conflict in my Outlook_We Met Online’, UQ Art Museum, Brisbane, 21 August 2020-1 March 2022)

The archive and the public square‘, Art Monthly Australasia, no. 324 (Winter 2020): 54-7. (‘The Square: Art and Society in Korea 1900-2019’, Museum of Modern and Contemporary Art, Seoul, 7 September 2019 – 31 March 2020)

Between art and life: The 8th Korea Artist Prize‘, AMA Blog, 9 December 2019. (‘Korea Artist Prize 2019’, Museum of Modern and Contemporary Art, Seoul, 12 October 2019-1 March 2020)

The factory-assemblist and the scholar-artist in the historiography of Chinese art‘, Art Monthly Australasia, no. 319 (October 2019): 46-53. (‘Terracotta Warriors: Guardians of Immortality’/’Cai Guo-Qiang: The Transient Landscape’, National Gallery of Victoria, Melbourne, 24 May-13 October 2019)

Awakening unheard voices‘, Art Monthly Australasia, no. 318 (September 2019): 32-5. (‘Awakenings: Art and Society in Asia 1960s-1990s’, National Gallery Singapore, 14 June-15 September 2019)

Reigniting the past: Three explosive displays of Chinese art at the NGV‘, AMA Blog, 28 June 2019. (‘SO-IL: Viewing China’ (8 March-4 August 2019), ‘Terracotta Warriors: Guardians of Immortality’/’Cai Guo-Qiang: The Transient Landscape’ (24 May-13 October 2019), ‘A Fairy Tale in Red Times: Works from the White Rabbit Collection’ (3 May-6 October 2019), National Gallery of Victoria, Melbourne)

Regional dialogue and homely conversation: “Awakenings” at the National Gallery Singapore‘, AMA Blog, 18 June 2019. (‘Awakenings: Art and Society in Asia 1960s-1990s’, National Gallery Singapore, 14 June-15 September 2019)

Pictures of transition: Contemporary paintings from Myanmar‘, AMA Blog, 16 April 2019. (Australian National University School of Art & Design Gallery, 1-15 March 2019)

A meeting of heroes: Selections from the Townsend Collection of Chinese Woodcuts at the NGA‘, AMA Blog, 6 October 2017.

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