Stephanie Shih’s ‘梅國’ Explores Diaspora and Identity Through Culinary and Ceramic Traditions

Stephanie Shih’s new artwork “梅國 (Still life with chamoy and Dirty T Tamarindo)” is on display at the David Geffen Galleries of the Los Angeles County Museum of Art (LACMA), blending culinary and ceramic traditions to explore themes of diaspora and cultural identity. The piece, created in a temporary studio within the gallery, features a 17th-century Mexican Talavera jar alongside chamoy candies, gummies, and a live butterfly, reflecting global and local influences.

How Stephanie Shih’s ‘梅國’ Reimagines Cultural Identity

Shih’s work confronts the tension between Western art historical narratives and the rich, often overlooked, histories of diasporic communities. “The story of chamoy parallels the journey of blue-and-white ceramics, which spread globally through colonialism and adaptation,” Shih explained. The artwork incorporates a 17th-century Talavera jar from LACMA’s collection, paired with a 12th-century Qingbai ware prunus vase, highlighting the interconnectedness of cultural exchange.

“My practice seeks to reclaim and reframe art historical references that often erase non-Western contributions,” Shih said. The piece also includes locally sourced elements, such as a butterfly found in West Hollywood and cacti from her backyard, blending the global and the hyper-local.

What Inspired Stephanie Shih to Incorporate Chamoy Into Her Work?

Chamoy, a pickled fruit condiment with roots in Chinese and Filipino cuisine, was introduced to Mexico through colonial trade networks. Shih’s inclusion of chamoy and candies from Tucson-based business Dirty T Tamarindo underscores the role of food in shaping cultural identity. “Chamoy’s journey mirrors the global movement of ceramics, both shaped by colonialism and local innovation,” said curator Susie Ferrell.

The artwork’s centerpiece, the Talavera jar, represents the fusion of Spanish and indigenous Mexican artistry. Shih collaborated with Alana Solis, founder of Dirty T Tamarindo, to integrate contemporary chamoy candies into the composition, bridging historical and modern culinary practices.

How Did the LACMA Commission Influence Shih’s Creative Process?

Shih spent two weeks in a temporary studio within the David Geffen Galleries, constructing a set to create the piece. “The environment influenced my approach—the weight of the gallery’s existing installations made me rethink framing and material choices,” she said. The final work uses a red frame to contrast with the gold gilded frames of surrounding pieces, emphasizing its departure from traditional art historical norms.

The studio experience also allowed Shih to engage with LACMA’s collection directly. “Seeing half-unpacked statues and crates gave me a sense of the gallery’s evolving identity,” she noted. This context informed her decision to highlight both historical and contemporary elements in “梅國.”

Why This Artwork Matters in the Context of LACMA’s New Galleries

The David Geffen Galleries, designed by Peter Zumthor, prioritize fluid, non-linear navigation—a design choice that Shih’s work contrasts with its intentional, grounded composition. “The galleries’ meandering layout can feel disorienting, but my piece offers a moment of clarity,” Shih said. Visitors often connect with the artwork’s personal and cultural references, with many recognizing chamoy or asking about the “flying” gummy butterflies.

“The piece invites viewers to bring their own experiences to the work,” Shih explained. This interactive quality aligns with LACMA’s mission to foster dialogue about identity and cultural history. The artwork is part of “The Global Appeal of Blue-and-White Ceramics,” a exhibition tracing the global spread of ceramic traditions.

What’s Next for Stephanie Shih’s Artistic Practice?

Shih’s work continues to explore the intersection of food, identity, and art history. Her academic background in linguistics informs her research-driven approach, as seen in the layered symbolism of “梅國.” Future projects will likely build on this theme, further examining how cultural artifacts shape personal and collective narratives.

As LACMA’s galleries evolve, Shih’s piece stands as a testament to the power of art to bridge historical and contemporary perspectives. “It’s about reconstructing identity through curiosity and connection,” she said. For visitors, “梅國” offers not just a visual experience, but a reflection on the stories that define us.