Fan Tai Sin, Wun Yiu, performance, and artistic interpretation

Hong Kong became a pivotal site in Martie Geiger-Ho’s kiln-god research. While living and teaching there, she investigated Fan Tai Sin (Fan Sin Kung), a deity associated with pottery and kiln traditions, and the temple’s relationship to the historic Wun Yiu ceramic community. This field research developed alongside her own studio practice, including the Kiln Priestess performances and a body of shrine-like Kiln Goddess sculptures.

Her Hong Kong work is important because it joins ethnographic observation, local ceramic history, ritual, performance, and sculpture. Rather than treating kiln lore only as a historical subject, Martie used artistic practice to examine how belief, fire, clay, and cultural memory remain active within contemporary ceramic life.