NEW YORK, NY.- The exhibition includes a new body of ceramic works from So’s 'Woman' stoneware series that draw upon early fertility idols and Venus figures celebrating the female form, alongside new Snuff bottle sculptures including a lemon, a nose, a poppy and a Pekingese dog. Inspired by the use of ceramics and glass in architecture and public spaces, she presents wall-based tiled works and has introduced stained-glass as a medium into her practice.

Renee So was born in Hong Kong in 1974 and grew up in Melbourne, Australia. So lives and works in London. Recent solo exhibitions include Provenance, Monash University Museum of Art, Melbourne, Australia and UNSW Galleries, Sydney, Australia (2023); Effigies and Elginisms, Cample Line, Thornhill, Scotland, UK (2022); Ancient and Modern, De La Warr Pavilion, Bexhill on Sea, UK (2019-20) and Bellarmines and Bootlegs, Henry Moore Institute, Leeds, UK (2019). Selected group exhibitions include Human Conditions of Clay, John Hansard Gallery, Southampton, UK and Chapter Gallery, Cardiff, Wales, UK (2021-22); London Making Now, Museum of London, UK (2021); Transparent Things, Goldsmiths CCA, London, UK (2020); The London Open, Whitechapel Gallery, 2018; One Day, Something Happens: Paintings Of People, curated by Jennifer Higgie, The Arts Council Collection, Leeds Art Gallery, UK (2015). A new publication, Renee So: Provenance, was published in 2023 to accompany her major survey exhibition at Monash University Museum of Art. Opening in November 2024 So will have a solo exhibition at The Lowry in Salford, UK.

'Renee So is a playful observer of objects and the stories that accrue to them over time... So has evolved an art practice that engages conceptually and materially with traditional (and ancient) craft forms that more often sit outside the short, official histories of modern and contemporary art... Geographically dispersed figurines with similar bodily representations, and clay vessels with anthropomorphic features are some of the formal tendencies that So picks up on and iterates in her works. Recurring motifs include portrait busts; anthropomorphised bottles and jugs, many with faces, arms akimbo, or joined to boots; tripod-footed vessels; figures depicted in profile; full manly bellies; full womanly bottoms; large, ballooning pants; and beards with tight curls. More recently, bottles referencing the nineteenth-century British-influenced opium trade in China have become part of her formal vocabulary, telling stories of imperial supremacy, the Western gaze and commodification.' --Charlotte Day for Renee So: Provenance (2023).