His journey began in Ipoh, where he built a traditional dragon kiln, reviving heritage knowledge through hands-on research and collaborative firings. He deepened his understanding of tea culture and chawan aesthetics, learning from masters who trace their lineage through centuries of clay. A residency in Taiwan allowed him to explore alternative wood firing methods with wild clays, shifting his perspective on natural ash glazing and surface depth.

In Singapore, he has led participatory workshops and exhibitions that merge design thinking with craft, encouraging cross-disciplinary conversations. 

Alvin’s practice begins with the earth—local clay, raw and unrefined - shaping each chawan by hand, using the pinch method, allowing the fingers to follow the rhythm of breath and time. No throwing wheel, no mold—just touch and intuition.

The marks of the fingers become silent notations of presence. Each form grows slowly, irregularly, embracing imperfection as a trace of life. This is not production—it is quiet listening.

Firing in a wood kiln is his way of surrendering control: fire, ash, and chance write the final chapter. The artist collaborate with flame, allowing the kiln to paint with its own will and each chawan carries the memory of the journey—of stacking, stoking, waiting, and letting go.

This research is rooted in slowness, material intimacy, and the unseen dialogue between human and nature. It is a search for stillness in form, and for stories held within surface and silence.