Stevens Vaughn is a conceptual ritualistic artist, who has spent the majority of his life in Asia. In 1978 he was sent by the Peacecorps, from a farm in the US to the Philippines, to work with tropical agriculture. This step lead him into a life long
relationship with Asian Art, history and mythology. Vaughn established a career as a designer and sculptor in Asia and other parts of the world, opening studios in Japan, China, Taiwan, Sri-Lanka and Mexico. During his 9 years based in Japan he was was influenced by “MA- Space” and Shibui aesthetics, the philosophy of
simple, rough effortless imperfection as it relates to perfection, in a non-dualist construct of the world.
His art creates discussion and controversy as he combines traditional medias and
techniques with ideas of societal engagement. He has sculpted Buddha heads in red star uniforms with traditional (Jing De Zhen) porcelain, and established theoretical parallels to fluid gender theory and ancient mythology. His artistic approach can be described as referring to the idea of “Playfulness” in context of the 900 century Northern Song and Tang dynasty artistic construct called (Yi Pin). Yi Pin is a holistic Daoist art philosophy with
spontaneous and performative painting style. He creates in his studios in Xiamen, Dehua (China), and Valparaiso, (Chile).
During Stevens years in Asia and Scandinavia, he was deeply influenced by the Gutai construct and the fluxus ideas of spontaneity and collaborative experimentation, and in 2006 at Gulangyu, China, he was
appointed a professor in the Diether Roth Academy. In addition to his own art he works collaboratively on production techniques, most noticeably the 14 year long collaboration with artist Bjorn Norgaard (Denmark) as advisor for the crystal sarcophagus for Her Majesty Magrethe the 2nd, Queen of Denmark and his Royal Highness The Prince Consort. Stevens Vaughn’s permanent performative paintings are on display at the Chongqing LAB art museum where he performed at the inauguration, in Shanghai at the Ke Art museum and at MAAM in Rome. He has held solo exhibitions in Buenos Aires, Valparaiso, Curitiba, London, Berlin, Brazzaville, Sofia at the national art museum, Miami, Rome and Shanghai.
He holds an adjunct professorship at the Ceramic Institute of Dehua and has lectured in the
Central Academy of Art Beijing. His art has been referred to as
“a calligraphy of water, with the paintings being the relics of his performance.”