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Paris Welcomes Loretta H. Yang with Wide Eyes and Gaping Jaws

By Wednesday morning, the Grand Palais was chock full of artists/designers, critics and collectors for Atelier d’art de France’s semiannual craft art show, “Salon Révélations.” With exhibit schedules packed cheek by jowl in a five-day stretch, it is a testament to Loretta H. Yang’s international stature that hers was among the first to open. Attending the event was Prime Minister Manuel Valls, Parsons Design Academy board members, Hermès designers and a number of art publication editor-in-chiefs. That day marked one of the rare historical moments when contemporary Asian art touched the hearts of Europe’s most elite cultural literati. 

Art—irrespective of culture—is a universal language… “I guess, people will be people, and feelings are felt just the same.”

Thanks to a fateful encounter in Shanghai last year with Serge Nicole, this cultural exchange was made possible.

Grand Palais Exhibition for Artist Loretta H. Yang

In 2014 Director of Ateliers d’art de France Serge Nicole made a personal trip to Shanghai, where he chanced upon and became enthralled by Yang’s artworks. After personally inviting her to participate in this year’s salon, Nicole selected his favorite pieces to be exhibited.

“[Formless…] it is like a way of living for us”

Yang may have been puzzled at Nicole’s selection initially. She reflected, “I never would have thought that… these [artworks’ messages] of what I thought were typically East Asian life philosophies of impermanence and struggle 

would ever have such a large impact and resonance in the vastly different cultural of France.” It seems from this learning experience that art—irrespective of culture—remains a universal language. Yang subsequently concluded that “I guess people will be people, and feelings are felt just the same.”

 Grand Palais Exhibition for Artist Loretta H. Yang

Indeed, it was Serge Nicole himself who—commenting on the “Formless” series—observed that “it is like a way of living for us.” That cross-cultural understanding of these sentiments—of transience and such—is the piece of the art that is carried into all hearts. Without prejudice.

Yet, France remains a nation that prides itself on a long history of cultivating its arts and culture. With recent years of economic turbulence in the art market, it is both an honor as well as an accomplishment that distinctly Chinese art can have such a resounding impact on French highbrow society. From this, there’s a cultural pride on both sides that is unique, an artistic struggle that is shared and an exchange which has been made historic.

In reflecting on the exhibit, Loretta H. Yang remarks that this is the same palace and art-world monument where French crystal pioneer and virtuoso Émile Gallé gained his reputation. In a classically Yang-like moment of humility and hope, she says that “today’s exhibit truly lets me consider what it is exactly that I wish to express in my artwork.” That is her continuous creation of “art for the good of the heart,” and her commitment to our world cultures.

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Loretta H. Yang's
Formless But Not Without Form



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Artist/Founder Loretta H. Yang leads a team of experienced artisans to create arts that honor the richness of cultural heritage and value.

Step No. 1: Design and sculpting


Step 2 of the process involves coating our original clay sculpture in silicone. Layer after layer (3 to 7 layers) is fastidiously coated to produce a negative mold, a crucial step in capturing the prevision of the sculpture. Each layer must dry completely before additional layer is applied, thickness must be uniform to prevent leakage of wax. Once complete, the clay is removed to reveal a negative silicone mold.

Step No. 2: Silicone molding


Pour molten wax into the negative silicone mold.

Step No. 3: Infusion of molten wax. Fill wax into a negative mold.


Once wax has solidified and cooled, release the wax form by carefully peeling back the silicone mold. Like a butterfly molting, the silicon is shed to reveal a positive wax form.

Step No. 4: Shedding of silicon mold to obtain the wax form


A careful refinement of the wax sculpture. Because every microinch and subtlety plays its own role in the grand scheme of beauty. Our artists refine the wax mold to its final perfection.

Step No. 5: Wax form refinement; removing imperfections


The wax mold is placed on a wooden plank in a metal container and plaster is poured and solidified. Embedding wax form with fire-resistant plaster.

Step No. 6: Coating the wax sculpture with plaster to form a refractory mold


Wax is steamed out of the plaster under high heat yielding a negative plaster mold.

Step No. 7: Removal of wax with steam—the essence of the “lost-wax” process


Liuli ingredients are created through unique firing and processing of glass. Color and size appropriate pieces are placed within the plaster and fired.

Step No 8: Choosing color; kiln firing


Fire and melt. Under intense heat, a new vision of transparency and clarity is born.

Step No. 9: Re-firing at 1,400 degrees Celsius


Extreme patience and care are necessary when removing the plaster to prevent damage.

Step No. 10: Removal of plaster mold

When the art pieces emerge, our masters step in to carefully chip away the plaster mold. Like excavating fragile archaeological relics, one false move and you're left with broken shards.


First comes die-cutting - smoothing the crystal down to the last microinch. Rough polish, removal of excess support, refinement and fine surface polish with a high-speed fabric wheel.

Step No. 11: Retouching of details; burnishing and polishing

Our artist refines and re-polishes each and every detail yet again.


An etched number on the base of each piece indicates its limited edition and reminds us to never stop creating. After the engraving - an official LIULI artwork is born.

Step No.12: Final inspection; etching of serial number; packaging