His experimentations with materials inspired by his travels led Goh to Jingdezhen in the Jiangxi province of China, a centre for porcelain production where imperial kilns produced large quantities of Chinese porcelain for the imperial court. The emperor often presented ceramics as gifts, a tradition since the Ming dynasty. Goh was fascinated with the unpredictability of colours produced by glazes on ceramics when fired, depending on the condition of the kiln, the temperature to which the glaze was fired and the chemical composition of the specific glaze applied. The smooth texture of the ceramic tiles allows the fluidity of his brushstrokes to express themselves on flat surfaces but also in three-dimensional form, as in vessels. Goh’s ceramics are a homage to the rich traditions of Chinese porcelain.
Goh’s one-month residency at STPI produced 40 new paper pulp works in collaboration with master paper maker, Richard Hungerford, using the ‘water collage’ technique to float materials that eventually settle down to make the work. This method of collage-making marked the artist’s experimentation in print-making processes by playing on the idea of ‘renewal’ through the giving of new life to discarded materials, using the transformative potential of art. The works produced combine Goh’s intuitive and spontaneous qualities with his sensitivity to materials that resonate with his experiences of nature and its propensity for renewal in the continuous cycle of life.