Lusesita: Gook Luck

In this exhibition, Lusesita invites us to cross the threshold into a world where objects have a soul. Each sculpture-glazed ceramics and textile elements-acts as a small protective being, a talisman created to care, to accompany, or to transform.

Fantastic mushrooms, amulets, miraculous mountains, snakes disguised as mice... the pieces seem to emerge from a shared dream between childhood and spirituality. They are forms that embrace, that play, that protect.

Lusesita works from a place of intimacy: her works do not impose but suggest. They speak of subtle emotions, invisible energies, and everyday rituals. Each piece is a living presence that reminds us that art can also be refuge, play, and medicine.

At the heart of Taipei, this show invites us to pause, to look attentively, and perhaps, to believe in magic again.

LUSESITA IN TAIPEI: CERAMICS AS EMOTIONAL PORTAL AND MAGICAL RITUAL

 In her first exhibition in Taiwan, Lusesita presents a new series titled Good Luck. But be warned: there is no cheap superstition here. What she calls "good luck" is not about lotteries or fairground charms. It speaks of something else: the luck of feeling, of imagining, of playing. The luck of having objects that care for us instead of surveilling us. That accompany us rather than impose. That do not shout design, but whisper magic.

In this exhibition, each of Lusesita's pieces is a totem, a creature, a prayer encapsulated in glaze. As if a playful yet deeply wise spirit had inhabited these objects to remind us of what art can be when it doesn't pretend, but invokes.

From the "Miraculous Mountain" to the "Negativity Repeller," each sculpture vibrates like a small portable altar. These are not simple ornaments or formal experiments: they are emotional power artifacts. Hybrid objects between animal and plant, domestic and galactic, protective and vulnerable. The "Fantastic Mushrooms" seem to grow out of an enchanted forest from the dreams of a child pretending to be a shaman. The "Amulets" and "Talismans" seek not decoration but connection.

Lusesita understands something fundamental that many artists forget: art doesn't need to shout to transform. In her universe of glazed ceramics and textiles, everything speaks softly but clearly. Each piece is a silent creature that watches us with tenderness, reminding us that true artistic power lies in the ability to touch without hurting, to protect without confining, to play without losing depth.

Choosing Taipei for this exhibition feels almost prophetic. In a city that balances tradition, technological avant-garde, and spiritual sensitivity, Lusesita's work finds its ideal terrain. Here, these objects are not out of place: they seem to have been waiting to be discovered.

My recommendation: go, touch with your gaze, listen with your skin. Let a "bat" embrace you, let a "snake disguised as a mouse" whisper a secret. And above all, take this certainty with you: that the tiny can also be monumental. That art, when born from care and play, can be a tangible form of love.

Lusesita invokes soulful objects. What this artist creates is a series of affective artifacts-everyday talismans, amulets of the invisible. Objects that seem to have arrived from a parallel universe where tenderness is law and absurdity is religion.

Her work is unique because it blends the ancestral with the mutant. It has something of future archaeology. Something of a broken toy repaired with love that now shines brighter than before. In times when everything seems industrial, digital, and disconnected, Lusesita works with her hands, with fire, with the organic. And from there, with an almost shamanic sensitivity, she turns clay into creature, object into spirit, form into emotion.

In a world where the functional devours the symbolic, Lusesita reminds us that there are other ways to inhabit the present. Softer. Stranger. Freer. Artifacts for Good Luck is a collective spell. A wish made form. A celebration of the very serious power of play.