SAN MARINO, CA.- This fall, The Huntington presents the evocative works of acclaimed British artist and author Edmund de Waal in “the eight directions of the wind: Edmund de Waal at The Huntington.” The yearlong exhibition comprises de Waal’s site-specific installations in the Huntington Art Gallery, the Chinese Garden, and the Japanese Garden. Each installation incorporates text, natural materials, and recent works by de Waal that create new perspectives and connections among The Huntington’s collecting areas. These installations—exploring the movement of ideas, people, and objects—invite visitors to reflect on the transmission of stories and histories that shape contemporary culture. Like the primary points of a compass rose, “the eight directions of the wind” serves as a thought-provoking guide to travel through The Huntington’s iconic spaces.

De Waal has received international recognition for his explorations of the contingency of memory, bringing particular histories of loss and exile into renewed life through art and literature. He is renowned for his bestselling family memoir, The Hare with Amber Eyes: A Hidden Inheritance (2010), which recounts the story of his Jewish ancestors through their collection of Japanese netsuke, or small carvings. The book has garnered multiple literary awards and has been translated into 30 languages.

His international solo art exhibitions include the critically acclaimed “library of exile” at the British Museum, an installation of more than 2,000 books by exiled authors, primarily in translation, alongside his own porcelain vessels. His thoughtful and poetic interventions in historic houses and museum collections include exhibitions at the Frick Collection, the Kunsthistorisches Museum, and the Musée Nissim de Camondo.

“De Waal is among the most innovative and intellectually profound artists working today, and we are honored to collaborate with him on a project that so deeply resonates with The Huntington’s efforts to illuminate the movement of ideas across time and place,” said Christina Nielsen, Hannah and Russel Kully Director of the Art Museum at The Huntington. “His installations offer meditations on beauty, displacement, and the fragility of culture.”

Three Sites, Three Meditations

De Waal’s installations for “the eight directions of the wind” are titled “on sanctuary,” “on porcelain,” and “on shadows”—located respectively in the Huntington Art Gallery, the Chinese Garden’s Studio for Lodging the Mind, and the Japanese Garden’s Marsh Tea House. Together, they create a contemplative experience of cultural movement and material endurance.

“This exhibition is a meditation on belonging and the stories that objects carry,” de Waal said. “Porcelain, to me, is a way to speak across cultures and time.”

The exhibition is cocurated by Melinda McCurdy, curator of British art; Phillip E. Bloom, June and Simon K.C. Li Curator of the Chinese Garden and director of the Center for East Asian Garden Studies; and Robert Hori, associate director of cultural programs.

on sanctuary | Huntington Art Gallery

Inside the Huntington Art Gallery’s Small Library, de Waal has curated a library of poetry, bringing together stories of exile, often the poets’ own. Many are in translation, framing language itself as a form of migration. The books are held within a table topped with porcelain slip and gold, into which de Waal has written a text on sanctuary, referencing the words of Chinese poet Bei Dao (b. 1949), who has spent much of his life in exile. The room once housed a portion of Henry E. and Arabella Huntington’s book collection.

Nearby, in the gallery’s white marble hall, de Waal’s benches, which are made of Kilkenny stone, invite visitors to sit and engage in quiet contemplation.

In the dining room, de Waal presents restored 18th-century Meissen plates, which were looted by the Nazis and subsequently damaged during the Allied bombing of Dresden in World War II. The plates have been repaired using the traditional Japanese art of kintsugi, in which fractured pieces are mended with urushi lacquer dusted or mixed with powdered gold, silver, or platinum. Instead of hiding imperfections, kintsugi honors the history of fragile objects and celebrates their endurance.

On the second floor of the gallery, de Waal’s newly created vitrine with Wedgwood shards is in dialogue with The Huntington’s renowned collection of Sèvres porcelain, emphasizing the migration of materials and ideas across continents and centuries.

“De Waal reframes our historic spaces by making surprising connections between the past and the present,” McCurdy said. “He invites us to think differently about what it means to collect, preserve, and interpret objects across histories shaped by movement.”

on porcelain | Studio for Lodging the Mind, Chinese Garden

De Waal is the author of The White Road: Journey into an Obsession (2015), an intimate portrait of his 40-plus years working with porcelain. The book describes his journeys around the world to places that tell the story of porcelain’s creation.

In this installation, de Waal traces the thousand-year evolution of porcelain, pairing shards and full vessels from China, Korea, Southeast Asia, Russia, Germany, Austria, Britain, and America with his own contemporary vessels. Selections from his personal library—including texts on porcelain and of Chinese poetry—create a quiet space for contemplation.

“De Waal’s installation doesn’t just recount porcelain’s history; it invites us to consider how objects carry ideas across time and geography, connecting distant cultures,” Bloom said.

on shadows | Marsh Tea House, Japanese Garden

For this installation, de Waal constructed a pavilion from charred oak as an invitation and appeal to pause, look deeply, and gather one’s thoughts. The pavilion—meant to serve as a poem in praise of shadow and light—recalls de Waal’s early apprenticeship in Japan, where he encountered sadō, or tea ceremony.

In this installation, a Kilkenny stone bench invites visitors to sit and look through the white shoji doors of the Marsh Tea House, where two installations of de Waal’s black porcelain vessels can be observed amid the shadows.

“The pavilion offers a gentle reminder to slow down and step away from the busyness of daily life,” Hori said. “It is a place for introspection amid the beauty and transience of the garden.”