Sketch No. 10

This original work on paper examines display, ornament, and the cultural construction of objects.

Siyuan Tan’s practice often draws from the visual histories of Chinese ceramics, blue-and-white porcelain, Persian framing structures, European export patterns, and modern abstraction. In Sketch No. 10, these references are not reproduced literally. Instead, they are reorganized through the relationship between vessel, pedestal, curtain, and surrounding form.

The pedestal suggests presentation and value, while the curtain introduces a theatrical or ceremonial quality. Together, they transform the vessel from a functional object into something observed, staged, and culturally interpreted.

The surrounding organic shapes complicate this structure further. Their flowing contours contrast with the more rigid architectural framing, allowing decorative tradition and contemporary abstraction to coexist within the same composition.

Through this arrangement, Tan reflects on how objects travel between cultures and acquire new meanings through display, trade, collection, and reinterpretation.

The sketch therefore functions as a study not only of form, but of context—how cultural objects are framed, viewed, and transformed through the spaces that surround them.

Sketch No. 10 explores how an object gains meaning through the space in which it is displayed. Across the page, Siyuan Tan repeatedly studies a vase placed on a raised pedestal, surrounded by curtain-like structures, organic forms, and framed compositional boundaries. The vessel itself remains relatively simple, while the surrounding space becomes increasingly theatrical. This shift is important. Rather than treating the vase as an isolated object, Tan considers how display, framing, and placement can transform it into a cultural image. Several small studies test different arrangements, while the larger compositions introduce flowing organic shapes and colored areas in pink, violet, and red. These forms soften the architectural structure of the pedestal and create a tension between ornament, object, and environment. As an original artist study, Sketch No. 10 reveals Tan’s process of constructing a staged visual space—one in which ceramic form, decorative framing, and contemporary abstraction begin to operate together.

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Each artwork is carefully prepared and securely packaged to help ensure safe delivery. Protective wrapping, reinforced corner protection, and sturdy outer packaging are used to safeguard the artwork throughout transit. Package Dimensions: 42 × 34 × 9 cm Package Weight: 0.7 kg If you require custom framing or professional mounting services, please contact us by email before placing your order or prior to shipment. As framing requirements, packaging specifications, destination, and shipping conditions may vary for each artwork, framing and shipping costs will be individually assessed and quoted on a per-artwork basis. Our team will recommend an appropriate packing and shipping solution based on the specific work to help ensure it arrives safely and ready for your space.

As an original work on paper, this artwork should be displayed and stored with particular attention to light, humidity, and surface protection. Keep the work away from direct sunlight and prolonged exposure to strong artificial light, as excessive UV exposure may gradually affect the paper and drawn surface. Display the artwork in a stable indoor environment away from excessive humidity, heat, and significant temperature fluctuations. Avoid placing it near radiators, fireplaces, air-conditioning vents, or damp areas. For long-term display, archival-quality framing materials and UV-protective glazing are recommended. Avoid direct contact between the artwork and non-archival materials. Do not touch the surface of the paper with bare hands. When handling is necessary, hold the work carefully by the edges with clean, dry hands or suitable protective gloves.