I still remember seeing Steven Weinberg’s work when I first discovered Liuli twenty years ago. I was captivated by the clarity and stillness of his work; the extreme precision of his technique was astonishing and something I never forget to this day.

The first piece I acquired for my personal collection was Steven’s. Both Chang Yi and I have drawn inspiration and support from this piece throughout our Liuligongfang history.

At that time, I just could feel the visual intensity from Steven’s works in aspect of technique. He has wonderful skill for making bubble locations, perfect manual polishing and grind delicate sea wave. This technique makes him very famous in the world.

Twenty years later, I have come to understand the depth and emotion his work evokes.

When I first heard of Steven’s troubled past that earned him the “Bad Boy” moniker, I found it hard to believe. How could he achieve such precision and demonstrate such control, serenity and strength?

Steven said, “I find peace in the process of making art juxtaposed to the uncertainty of everyday living. I manage to achieve harmony within a world that has spun out of control.”

Steven’s mode of communication is through the technical precision of glass art. Through it, he transforms the turmoil of living into a new value on life. His work exists not to occupy material space but to create a spiritual state.

This creative language is inspiring. I know that I am not the only person who feels at peace when admiring his work.

I was delighted to see Steven again in Singapore after our 2007 New York joint exhibition; it is a great honor to have the opportunity to show alongside an artist whom I deeply admire and whose work is housed in the permanent collection of over sixty museums.  I respect him for not sitting on his past successes and for continually developing new ideas to make himself stronger and better.  This too is my ambition.

─ Loretta Hui-shan Yang