I don’t know about you, but I’ve always been fascinated by how we humans express our biggest beliefs. Since forever, we’ve been carving sacred symbols into stone or carefully shaping them from ceramics. It’s the ultimate way to take a big, abstract idea about spirituality or a god and turn it into something real and powerful.

That timeless tradition is exactly what two incredible artists, Chenlu Hou and Chiara No, are exploring right now. They both use clay as an enduring way to share powerful stories and connect with myth.

And we get to see their work together! Their duo exhibition, aptly titled What the Hands Remember to Hear, is opening next month at The Aldrich Contemporary Art Museum.

Meet the Artists

Chenlu Hou brings her vibrant Chinese heritage right into her art. Her colorful sculptures are a beautiful mix of folklore, personal memory, and the layered experiences of diaspora. It’s like watching cultural history get blended into a stunning, modern sculpture.

A fantastic example is her piece, “Tian Gou Shi Ri – The truth about solar eclipse and how to observe it using pinhole imaging principle.” It shows a giant female dog biting the sun, drawing on the Chinese legend of tiangou (“heavenly dog”), which is said to eat the sun during an eclipse. How cool is that connection to ancient myth and science?

Then there’s Chiara No. Her characterful sculptures pull from a huge range of history—ancient, pagan, and Christian mythologies are all in the mix. She’s particularly influenced by the terracotta figures from ancient Boeotia (that’s south-central Greece). But here’s the best part: she often forms her figures as bells, with their legs dangling like clappers. When activated, each one makes a completely distinctive sound, personifying these demons and goddesses!

Both Chenlu Hou and Chiara No manage to make their work feel playful — almost a little cartoonish—while still being incredibly meaningful. They also paint tiny, detailed scenes right onto the surfaces of their ceramics, adding extra layers to the stories.

If you love art that connects the ancient past with the contemporary present, this show exploring spirituality and myth at the Aldrich Contemporary Art Museum is definitely one to put on your calendar. I know I’ll be there!

Chenlu Hou, “Kai Ming Shou-The enlightened beast ultimately chose jump rope” (2024), terracotta, underglaze, zip-ties, high-temp wire hooks, and rope (slab hand-built, air-brushed surface with underglaze), 26 x 21 x 7 inches.
Chenlu Hou, “Tian Gou Shi Ri – The truth about solar eclipse and how to observe it using pinhole imaging principle” (2024), terracotta, underglaze, zip-ties, and high-temp wire hooks (slab hand-built, air-brushed surface with underglaze), 20 x 6 x 25 inches
Chiara No, “Votive of Frimoth” (2024), underglaze on stoneware, 23kt gold leaf, 24kt gold-plated rings, and waxed thread, 5 x 5.5 x 9.5 inches
Chenlu Hou, “Four long-haired people ride a pomegranate-shaped mini-spaceship into space to smell armpit odor” (2025), terracotta, underglaze, zip-ties, high-temp wire hooks, rope, and gold ink (slab hand-built, air-brushed surface with underglaze), 29 x 19 x 10 inches
Chiara No, “Votive to Mermo” (2023), underglaze on tinted porcelain, 8.5 x 4 x 8 inches
Chenlu Hou, “Birds don’t eat cicadas that are shedding” (2023), terracotta, underglaze, zip-ties, high-temp wire hooks, hand-cut polypropylene (slab hand-built, air-brushed surface with underglaze), 28 x 13.5 x 3.5 inches. Photo by Charles Benton
Chiara No. L-R: “Idol to Kobal” (2024), underglaze on stoneware, waxed thread, and recycled glass beads, 6 x 7 x 8 inches; “Votive to Klothod” (2024), underglaze on stoneware and waxed thread, 9.5 x 6 x 10 inches; “Votive to Gemory” (2024), underglaze on stoneware and waxed thread, 4.5 x 6.5 x 5.5 inches. Photo by Ethan Hickerson
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