Taliny Chhung is a Los Angeles-based ceramic artist. Born to a Thai mother and a Cambodian father, Taliny was raised in Reseda, California along with her brother. As a child, she was dissuaded from creative pursuits, but a violent car accident in her forties led her to a Vedic astrologist who urged her to pursue art. Eschewing traditional methods, her freeform, sculptural vessels and monumental planters are built by hand. Formally evocative of what might be described as “Baroque gone berserk,” they offer an array of material associations, ranging from meringue to manure. Her methods are additive and subtractive and guided by instinct. Taliny’s ceramics are currently showcased at Inner Gardens, where their earthy presence and sculptural silhouettes complement the gallery’s signature blend of vintage, modern, and botanical design. She lives in Los Angeles with her husband and three children. See these unique sculptures in today’s Maker Monday.
Photography by John Skalicky
Andrew Joseph: Can you describe your creative philosophy in three words?
Taliny Chhung: Chaotic, uninhibited, instinctive.
AJ: What is the most challenging piece you’ve worked on and how did you overcome it?
TC: There wasn’t a specific piece that was challenging, but a challenge I faced was getting back into the studio after having my third child. I was so out of shape and tired. I knew I just had to be patient with myself and that the work was still inside of me – somewhere. Looking back at the pieces I made soon after his birth, I could see their lack of vibrancy, like wilted flowers. I started small and worked my way back up to larger pieces as my strength increased and my body recovered from creating my son.
AJ: Can you describe a piece that you’re particularly proud of?
TC: I just completed two large pieces for a commission going to Portugal. My son turned two and I hadn’t made anything so large since his birth. The work is very physical – I throw around bags of clay, work with large chunks at a time… lots of pulling, pressing, tearing and cutting. Fortunately, it’s easy for me to get lost in the process – it’s where my soul comes out to play. And they are stunning… I would just stare at them and think, did my hands really do that?
Photography by Denise Milford
AJ: How do you stay creative and inspired?
TC: I’m lucky I have a husband who is big on art and music. He’s always finding new experiences for us — exposing me to new worlds. He wanted to see a Nigerian artist named Seun Kuti. I’d never heard of him. The concert was at a small venue in Highland Park. I was blown away. His wife dances on stage as he performs — it was electrifying. I was sweating! The experience opened up something in me. I still get inspired by that evening — seeing people express themselves in that way… so freely… with abandon.
AJ: Can you tell us about a specific moment in your career that made you feel accomplished?
TC: Kelly Wearstler placed an early piece of mine in the Ulla Johnson store in Los Angeles. A friend surprised me by taking me to the store where I saw my work in the wild for the first time. It was in such a beautifully curated environment. They’d planted an incredibly tall tree in it and placed it in front of a rack of just… luscious dresses that played with the color of the planter. I saw it and just felt like I’d landed.
AJ: What is your favorite aspect of your job?
TC: It’s my time to be completely free. Nothing else exists but me and the clay. I love how physical the work is. I tried to have a home studio, but there were too many distractions.
Photography by Robert Legg
AJ: How do you balance functionality and aesthetics in your pieces?
TC: Most of the pieces I make are functional. I started out making what I called “flowers,” which were just objects, really. Then I began making planters and the pieces became “functional.”
AJ: What is your favorite tool to use?
TC: A Brookstone steak knife. They have this large wooden handle, perfect for gripping. Aside from that, I do not have many tools.
AJ: Best advice you’d give your teenage self?
TC: It doesn’t matter what other people think. I drill this into my children as well. When I first started learning about ceramics, there were so many critics. “Your wheel is going too fast.”; “You’re using too much clay.”; “It can’t be thicker than one inch.” ; “You’re not supposed to do it that way.”
They would see these chunky, bizarre forms that looked nothing like anything they had made. I found it interesting that my methods were so… provocative. If I cared about what they thought, I wouldn’t be here, now.
Headshot photography by Denise Milford.
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