Hello and welcome to my page, I am a Visual Artist, Ceramic Artist
Marika St. Rose Yeo is a visual artist from Saskatchewan. Her artistic works and research are concerned with healing, justice and transformation through creative practice. Marika works primarily using both fired and unfired ceramics. Her sculptural vessels emphasize vulnerability and fragility through the layers and cracks of the ceramic pieces. With the breaking of the vase I engage with the haptics of “gathering” and “healing”. It is in this practice that I hope to acknowledge that the act of “making” and “re-making” is a gift to experience. It is in these processes of “gathering” and “re-making” that my work holds both my care and pain in the pieces themselves. Marika St. Rose Yeo has a BFA with a major in ceramics from the University of Regina and is currently completing a PhD in Critical and Creative Social Justice Studies, in the Institute of Gender, Race, Sexuality and Social Justice, at the University of British Columbia.
St. Rose Yeo, Marika
Burnaby, British Columbia, Canada
Samples of my work
This work is created on the premise of search, the act of seeking out traces of things left behind, and information and memory transmitted through the materiality of earth. The gathering together of these traces, to be offered up again to whoever encounters the work, offers a rhythmic cycle to my artistic practice. These patterned vessels reference a pieced together whole; a whole which reflects possibilities for healing. The form of the vessels, and the carvings that pattern the surface, reference ceramic and textile design in the Caribbean, West Africa and Western Europe. It is through the complexity of connection and the complexity of healing that I reflect on the words of Derek Walcott in relation to these works: Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole. The glue that fits the pieces is the sealing of its original shape. It is such a love that reassembles our African and Asiatic fragments, the cracked heirlooms whose restoration shows its white scars. This gathering of broken pieces is the care and pain of the Antilles, and if the pieces are disparate, ill-fitting, they contain more pain than their original sculpture, those icons and sacred vessels taken for granted in their ancestral places. Antillean art is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces broken off from the original continent. And this is the exact process of the making of poetry, or what should be called not its “making” but its remaking, the fragmented memory, the armature that frames the god, even the rite that surrenders it to a final pyre; the god assembled cane by cane, reed by weaving reed, line by plaited line, as the artisans of Felicity would erect his holy echo. With the breaking of the vase I engage with the haptics of “gathering” and “healing”. It is in this practice that I hope to acknowledge that the act of “making” and “re-making” is a gift to experience. It is in these processes of “gathering” and “re-making” that my work holds both my care and pain in the pieces themselves.