Lin’s practice forces cultural institutions to rethink how fragile, historically charged artworks are conserved and interpreted, reshaping conversations about colonial legacies and ecological entanglement in contemporary art.
Candice Lin, visual artist and UCLA professor, uses sculptural installations to turn everyday and historically loaded materials into immersive, often non‑visual experiences that engage smell, sound and touch.
Her work interrogates the colonial histories of pigments and ceramics—cochineal, yellow ochre, bone black, porcelain—by researching their origins and then subverting their traditional meanings. In “A Hard White Body” she misted unfired porcelain with distilled urine, allowing mold and cracks to form, later re‑firing fragments into island‑like sculptures; a Chicago iteration flooded the gallery with porcelain slip, underscoring the precariousness of cultural preservation.
Lin recalls a childhood fascination with a chicken head in a Chinese restaurant, noting that “as an adult I finally get to misuse things the way I wanted to.” She also describes the pandemic‑era shift to indigo‑dyed textiles and animated cat narratives, while students praise her as a “generous teacher” who turns research into collaborative discovery.
By foregrounding material instability and speculative storytelling, Lin challenges museums to reconsider preservation of volatile works and invites audiences to confront hidden histories of trade, labor and white supremacy, expanding contemporary discourse on art, ecology and decolonization.
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