Peter Chang was born to a British mother and Chinese father in Liverpool, England on 1 December 1944. Initially trained as a graphic designer and sculptor at Liverpool College of Art (1963–66), he subsequently studied in Paris at Stanley William Hayter's famous printmaking Atelier 17, before enrolling at the Slade School of Art in London in sculpture and printmaking. Renowned for his innovative approach, Chang merged playfulness with fantasy in his vibrant jewellery, sculptures, and furniture, taking inspiration from nature, urban environments, and his cultural heritage, his distinctive aesthetic defined by the use of recycled plastics and acrylics, often sourced from Liverpool's Chinatown. In 1995 Chang was joint winner of the first Jerwood Applied Arts Prize for Jewellery.
Artist and designer, Peter Chang was born on 1 December 1944 in Liverpool, England to a British mother and Chinese father. Initially trained as a graphic designer and sculptor at Liverpool College of Art (1963–66), Chang's artistic path was deeply influenced by the Pop Art culture prevalent during his formative years in Liverpool. His early exposure to diverse cultural influences in Toxteth, coupled with his mixed Chinese and British heritage, fostered an innate love for vibrant colours and patterns, which would become hallmarks of his work. In 1966 he was awarded the Liverpool Senior City Scholarship which enabled him to study in Paris at the famous printmaking Atelier 17 under Stanley William Hayter. He subsequently enrolled at the Slade School of Art in London, where he pursued postgraduate studies in sculpture and printmaking.
An eclectic artist, Chang was best known for his jewellery, which he began creating in the mid-1980s; however, he also made sculpture, furniture, and designed gardens. Visually stunning, his pieces were imbued with a sense of playfulness and fantasy. He sought to create a synthesis between jewellery and sculpture, infusing his work with elements of fun and whimsy. Chang's jewellery often featured exotic shapes, taking inspiration from many sources, including nature, urban environments, and his own cultural heritage. This eclectic approach resulted in pieces that were both provocative and enchanting, capturing the imagination of all who encountered them. His creations have been variously described as being ‘in a state of perpetual metamorphosis, the product of some evolutionary mixture’ (Pollard) and as ‘crazy abstract animals from a science-fiction menagerie’ (Harrison 1995).
Chang's deliberate and symbolic choice of materials — primarily plastic and acrylics — was driven by his desire to utilise recycled items and found objects, such as signage from Liverpool's Chinatown. This approach also helped to define his aesthetic, with red and yellow emerging as dominant colours in his work, mirroring the vibrancy of the Chinese community. As he observed, ‘It is the magical potential of materials that I find most fascinating […] Plastics in their own right have little intrinsic value. It is the joy of exploring their qualities of malleability, creating colour and sensuality, teasing the materials to obey, exploiting all to the maximum, which gives it value to me’ (MFAH website). The influence of surrealism is also evident across his work, from unusual, quirky shapes and details to the contrasting combinations of colours and patterns. Chang's use of innovative materials was revolutionary, turning everyday objects into extravagant, outlandish creations that challenged conventional notions. His jewellery pieces were not just accessories but wearable sculptures, characterised by oversized forms, electric hues, and meticulous finishes. His 2007 ring in the V&A collection is a striking example of this unique approach. With its vegetal forms seeming to blur the lines between organic life and imaginative creation, it is a visually complex piece with details and layers that invite closer inspection. A particularly distinctive feature is the incorporation of discs cut from orange and red bicycle reflectors, which are ingeniously integrated into the design, not only enriching the piece with glowing colour, but also adding a reflective quality that captures and plays with light.
Chang's jewellery-making process uniquely blended aesthetic appeal with surprising physical lightness. A core of polyurethane foam ensured the pieces remained lightweight — even for those reaching up to eight inches in diameter. This core was then enveloped in polyester resin, reinforced with glass fibre strands to enhance durability without adding unnecessary volume. Acrylic was meticulously applied and heat-moulded into the desired shape, followed by the application of several polished layers of resin for a smooth finish. Occasionally, Chang enriched his creations with accents of precious metals like gold, silver, or bronze, adding complexity and value. Chang's creations, ranging from reptilian bracelets and mosaic brooches to baroque mirrors, each requiring hundreds of hours to perfect, showcased his innovative approach to materials and his dedication to craftsmanship. Through detailed carving, moulding, and layering, Chang transformed mass-produced materials into handcrafted works of art. Despite the mmanufactured origins of his materials, each piece maintained a quality of craftsmanship, making every design a clear reflection of his skill and creativity. In 1995 Chang was joint winner of the first Jerwood Applied Arts Prize for Jewellery and in 2003 he received the Herbert Hofmann Prize, Munich. A major retrospective, featuring jewellery, furniture and sculpture, was held at the Walker Art Gallery, Liverpool, in 2007. Peter Chang died in Glasgow, Scotland on 25 October 2017. In the UK public domain, his work is represented in the Crafts Council Collection and Victoria and Albert Museum, London.
Consult items in the Ben Uri archive related to [Peter Chang]
Publications related to [Peter Chang] in the Ben Uri Library