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Curious
Entanglements

2022 -

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CURIOUS ENTANGLEMENTS

Article (Exec Summary) written by Caitlin MacDonald

Writer & Editor (Art Formes),

Researcher (Centre for Curating the Archive UCT),

Masters Student (MPhil Environmental Humanities)

Working against the logic of purity, Eugene Hön's Curious Entanglements are decompositions: morphing memory, subverting and stuttering forms, and staying with the trouble.

 

The vessels do not arrive in the world fully formed, unblemished. They are of the earth, marked by the shrapnel of their miraculous birth. Their bodies are crusted with debris of the clay womb, like comets spat out of the earth's core. These are vessels for the end of the world, made in gestures of repair, survival, and interspecies collaboration.


Hön's approach is multimodal. Intricate drawings of mycelium in ballpoint pen are digitally augmented with the assistance of graphic designer Dominic Hobbs, fudging, repeating, and contaminating fractal iterations which are then printed onto vessels which are themselves distortions of the ceramic, caked with dried fragments of discarded slip cast bodies. In cyborg-like collaborations, using computer-aided design and 3D technology, the artist generates innumerable phantom memories from these entangled two- and three-dimensional structures, transfers bleed into the textures of the crinkled shards or the smooth whiteness of exposed bone china. Octopus tentacles and fern fractals unfurl, mushroom clouds balloon, molten lava oozes, and sea slug softness laps up against scorched earth and grazing tar. Everything congeals to form compost, fragile rhizomatto iterations beyond simile.


Drawing on the multispecies ethnography of anthropologist Anna Tsing and the fungal studies of biologist Merlin Sheldrake, Hön's work forms delicate assemblages that mimic the relationships that are threatened and created in epoch of climate catastrophe. Fungal worlds emerge in the artist's work as a radical form of survival through collaboration and contamination. The fungal instinct for assemblage is at the heart of its resilience - fungus thrives in disturbed forests and in the violent microcosmos; it feeds on radioactive graphite at Chernobyl. The objects that populate Curious Entanglements remain unclosed, language-less, as muddled and muddied as our world, modelling in miniature the endlessly complex weave of vulnerable relationships through which we endure.

Mycelium Fractal 1
Mycelium Fractal 2
Mycelium Fractal 3
Mycelium Drawing
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Introducing Ashes to Ashes (2025), recent porcelain vessels by Eugene Hon

Article by Carl Landsberg

BA Fine Art, Hons History of Art, Wits University Johannesburg

05 February 2026

 

Hon is a ceramic artist that embraces ceramics and drawing, crafting digital solutions. Breaking new ground in contemporary ceramic’s development - a fusion of drawings as digitally printed transfers on self-glazing Parian clay bodies and or as animated digital projections onto ceramic installations.

His expressive vessels titled, Ashes to Ashes, visually and metaphorically encapsulate the cycle of life and death - from ‘dust to dust’ and regeneration in a world in disarray.

 

Referring to his ballpoint pen drawings of mycelium networks (Fungi) - scanned and digitally enhanced into fractal designs and applied to his vessels as ceramic transfers, he suggests that the fungal patterns serve as metaphors for regeneration, rebirth, growth, and restoration, conveying a hopeful message in a landscape of global turmoil.

He cites Anna Tsing (2015:4) who notes that in a world facing economic and ecological precarity, our only option is to seek signs of life within the ruins. Metaphorically this signals a call for self-reflection and a re-examination of human interactions with the natural world, a call for new forms of co-existence.

This concept finds representation in his use of a particularly striking “pattern wrap” concept, integrating the surface embellishments with the vessel form in the round The highly evocative and tactile ‘debris’ surface treatment—composed of applied granular porcelain fragments and dust, contrasts sharply with the smooth surface areas with applied digitally printed ceramic transfers of his drawings of mycelium. Narrowing the gap between traditional ceramics and digital materialities.

Hon uses the porcelain vessel’s surface as a canvass for an urgent discourse and reflection on the interrelationship between humanity and the natural world. His work functions partly as an ecological critique engaging with pressing environmental concerns related to the current Anthropocene geological age - the period during which human activity has been the dominant / most destructive influence on the climate and environment.

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ASHES TO ASHES

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ASHES TO ASHES

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LICHEN

WOODFIRED - DEBRIS

WOODFIRED - CURIOUS ENTANGLEMENTS

JINGDEZHEN

PORCELAIN

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PORCELAIN

Curious Entanglement Vessel II
Curious Entanglement Vessel V
Curious Entanglement Vessel III
Curious Entanglement Vessel I

EARTHENWARE

DRAWING

FRACTALS

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