藝術家黃浩麟從8歲起便接觸陶藝，其後在藝術學院接受專業訓練，並先後在樂天陶社、香港視覺藝術中心和巨年畫廊工作 ，種種的經歷讓他掌握一定的陶瓷技巧與基礎。然而，他的創作卻放棄傳統的創作技巧，從陶瓷的物料性著手，鍾情研究物料燒製後的效果，運用特有方法，在坯體中加入陶瓷製作者避免使用的物料——肥皂，令坯體經高溫後不確定地膨脹而非收縮。他放下固有的陶藝知識，讓物料自行「說話」。

讓陶瓷膨脹的啓發，來自藝術家一次考察經歷：「當時於中國瓷廠看到堆積如山的失敗作品及將被掉棄的瓷器，它們呈現的結果是由窯爐的溫度而成，對我而言是另一種不可預期的美。」經過多年重覆試驗泥和釉料的混合物，漸漸對這種不確定的燒製方式有所認識，並系統化地研究出自家方程式，在其控制與不控制之間，容讓窯爐呈現不預期的美。

Tiger Wong has been touching clay since he was 8. Afterwards, he received professional training on ceramics at RMIT, and worked at The Pottery Workshop, Hong Kong Visual Arts Centre and Giant Year Gallery respectively. This lays the foundation of his ceramics knowledge and practice. To emphasize on the materiality of ceramics, he abandoned the traditional techniques to undertake experimental firing. Unlike other ceramicists who avoid using soap, he would add it to the clay to evoke indefinite expansion of greenware under high temperature. He is fascinated by this uncertain result of materials after firing. He let the materials to “speak” on their own by putting aside his hand-building skills.

His innovative work is inspired by a ceramics factory visit in China. “I saw a mountain of unsuccessful pots that are about to discard. There is an “unpredictable beauty” that lies upon the imperfect potteries due to the unstable temperature of the kiln.” Years of experiment on the mixture of clay and glaze familiarize himself with firing. He now formulates his own recipe of firing, striking a delicate balance between planned and unplanned interference. The kiln could thus unveil the unforeseeable beauty of clay.