Identified for trompe l’oeil ceramic sculptures of pantry staples and home life, Stephanie Shih has additional entrenched her largely culinary-focused repertoire in materials tradition. In two exhibitions, the Brooklyn-based artist (beforehand) embraces mosaic as she nests small glass fragments and pottery sherds into vivid compositions that discover manufacturing and labor.
Shih’s architectural work on view on the John Michael Kohler Arts Middle in Sheboygan, Wisconsin, attracts on the Midwestern grotto custom with a pagoda-style construction. Damaged porcelain dinnerware, polished stone, and ceramic sherds uncovered in a Chinese language fishing village on Monterey Bay cloak the facade, whereas lots of of crowd-sourced knick-knacks and figures embellish the rooftop.
Titled “Toy Building (1915–1939),” the six-story sculpture reinterprets a historic spot in downtown Milwaukee {that a} Chinese language immigrant owned and as soon as housed a dancehall, restaurant, and numerous companies. A collective portrait of the Chinese language diaspora, Shih’s work items collectively archaeological, classic, and modern objects into an eclectic array that bridges the mundane and divine.
The artist continues her more moderen enterprise into mosaic in Invisible Hand, a solo exhibition opening this week at SOCO Gallery. A large, produce promotional in colourful stained glass, “Carolina’s Pride Peaches” depicts a girl marveling on the ripe fruit. As an announcement from the gallery says, Shih directs us to consumption, portraying the luscious commodity as soon as it’s been harvested by an unacknowledged laborer.
Invisible Hand pairs the vintage-style commercial with the artist’s ceramic fare. Included are typical grocery retailer finds like a carton of Tropicana and Smucker’s jelly, together with in style quick meals remnants like a field from Kentucky Fried Rooster. The seemingly mundane nature of the objects lends itself to one of many artist’s enduring questions: who’s behind the conveniences and sustenance we’ve come to anticipate and depend on?
As conversations about immigration and labor take heart stage, Shih’s work displays the lengthy historical past of U.S. coverage focusing on important staff. She references the Chinese language Exclusion Act of 1882, which barred Chinese language immigration for 10 years and largely focused those that would occupy low-wage jobs. “This act set the stage for a broader pattern of racialized labor exploitation that continues to shape the U.S.’s immigration and labor policies today,” the artist provides.
Invisible Hand runs from September 18 to November 8 in Charlotte. In case you’re in Sheboygan, you may see “Toy Building (1915–1939)” as a part of A Lovely Expertise: The Midwest Grotto Custom by Might 10, 2026. Discover extra of the artist’s work on her web site and Instagram.
