重磅展讯|白明：从“路·由”到“12象” From “Road & Origin” to “12 Features”

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三宝蓬美术馆年度重磅大展【12相当代陶艺作品邀请展】开幕式将于明天上午10点在多功能报告厅隆重举行！

中国美术家协会陶瓷艺术委员会主任、清华大学美术学院陶艺系系主任、教授，博士生导师白明担任本场展览的学术主持与策展人。

展览由中国美术家协会陶瓷艺术委员会主办、三宝蓬美术馆承办、安徽大名实业集团有限公司协办。

小小剧透一下，开幕式将有一众学术界、艺术界大咖出席，欢迎大家光临展览开幕盛会！

从“路·由”到“12象”

From “Road & Origin” to “12 Features”

——策展人&学术主持丨白明

Curator&academic host丨Bai Ming

当我为这个展览撰写的文字正顺着自己的思路写了一半的时候，突然想起这个展览已经由参展艺术家自己拟定了一个题目，叫“路·由”。“路由”这个词在这个时代不仅耳熟能详并且具有特定的指向。它是个工程术语，指通过计算确定最佳路径而达到高效传递信息包的这样一个“机制”，我们的生活无时无刻不在依赖它。将这两个字分开，变成“路·由”的时候，这个词就有所改变，让我们很自然地联想起“道路”和“由来”，“路”不仅是走的，也可以理解为思维的路径、观念的表述亦或信息的传递；“由”既可以是自然的信息由来，也可以是内心的某种念头的生发，还可以延伸为与自由、与一切你的行为方式有关的、支配你的某种情绪，甚至是与潜意识有关的一个综合体，所以我决定还是在名称上用上他们想用的这个词。这个展览由12个人组成，我依直觉为他们这个展览命名为“12相”。12是参展艺术家的人数，也体现出阿拉伯数字的信息意义。12在我们的生活中不仅常见，而且重要。比如，一年有12个月，一天有12个时辰，人有12属象。西方讲究12星座，欧盟的标志就是由12颗金星组成。12好像是特定的与时间与天、人与完满的大数字有关。“相”则是我们目光所视的样子，其实“相”是一种外观，是借助于光可以看到的和由我们的经验联想到的图形，今天我们便可以通过“作品之相”去尝试了解这些重要的年轻艺术家的“内心之相”。

When I was writing the text for this exhibition, I suddenly remembered that the participating artists had already titled the exhibition “Lu You”. The word " route " (Lu You) is not only a very familiar word to us in the modern world, but also has a specific meaning. It is an engineering term for a "mechanism" that achieves efficient delivery of information packets by determining the best path through calculation, on which our lives depend all the time. When “Lu You” are separated and turned into “Lu” and “You”, the meaning of the word will be changed. It makes us think of "road" (Lu) and "origin"(You) naturally. The word "road" does not only mean the path to walk, but also the path of thinking, the expression of ideas or the transmission of information; "origin" can be either the source of information, or the generation of a certain inner thought, and it can also be extended to something related to freedom and all your behaviors. It can be a certain emotion that dominates you, even a complex relation to the subconscious, so I decided to use the word they choose for the title. There are 12 artists in this exhibition, and I intuitively named the exhibition "12 Features ". 12 is the number of participating artists, which also reflects the message of the Arabic numerals. 12 is not only common in our lives, but also important. For example, there are 12 months in a year, 12 hours in a day, and 12 animal zodiacs. In the West, there are 12 signs of the constellations, and the symbol of the European Union is made up of 12 gold stars. 12 seems to be a specific big number related to time and universe, people and completeness. “Features” is what we look at, and it is an appearance. It is a figure that can be seen with the help of light and is associated with our experience. Today we can try to understand the "inner Features " of these important young artists through the " Features of the work".

展览现场

陶瓷艺术在中国和世界所受到的尊崇已将这样的审美浸润进我们的心灵，深深地融入在我们的血脉，也融入了我们看待世界、对待生活的许多不动声色的方式。在“瓷国”盛名之下，自上个世纪八十年代以来，中国一代一代的陶瓷艺术家也开始在这个看似已“无路可走”的发展历程中拓展出属于中国的一片天地。

The respect that ceramic art has received in China and the world has infiltrated this aesthetic into our hearts, deeply into our blood, and into many of the ways in which we view the world and approach life. Under the reputation of "porcelain country”, since the 1980s, generations of Chinese ceramic artists have begun to expand their own world of China in this seemingly "dead-end" development process.

还只是在二十年前，现代陶瓷艺术的风格在中国很少能获得展览的空间，很少拥有能受到包容与尊重的环境。对新的艺术形式投入关怀和尊重的善意往往是在纯专业的艺术画廊和美术馆及艺术院校对多元文化进行探讨的时候才会给予这样的艺术探索一点小小的空间。

Only twenty years ago, modern ceramic art styles were rarely given space to be exhibited in China, and rarely had an environment in which they could be respected. Only when art galleries and art academies are discussing multiculturalism, the kindness and respect of new art forms is shown and only a small space for such artistic exploration will be given.

而今天，现代风格的陶瓷艺术已经在中国成为不可忽视的、引人关注的活跃力量。暂且不论北京、上海、广州，我们就看千年窑火不断的景德镇，近五年来大大小小与现当代风格的陶瓷形式相关的展览就不下几十次。陶溪川美术馆、陶瓷博物馆、陶瓷大学、三宝蓬，这些地方总是不期而遇地在人们的视线中出现一些迥异于传统而又充满生机的，对陶瓷艺术在材料、形式和工艺上有个人表达方式的作品，它们总是让人眼前一亮，仿佛可以从中感受到千年瓷都所蕴发的由青春一代所传递的伟大力量。如果说过去举办青年陶艺家的学术展览还属于行业与圈子里严肃且谨慎的、探讨式的展览，那么今天在这样一个到处密布传统瓷文化堆积层的城市，一个到处都与古老与陶瓷文明融为一体的城市里，展现“从’路·由’到’十二相’”这样一个展览不仅是学术上的一种诉求，更多的是我们对古老瓷都的一种深深的敬意和回馈。也是中国美协陶瓷艺术委员会与“三宝蓬”美术馆的共同愿望。

Today, modern ceramic art has become an active force that cannot be ignored in China. Besides Beijing, Shanghai, and Guangzhou, just focusing at on Jingdezhen, where the kiln has been burning for thousands of years. ，in the past five years, there have been dozens of exhibitions related to modern and contemporary ceramic forms. Places such as Taoxichuan Art Museum, Jingdezhen Ceramic Museum, Jingdezhen Ceramic University, and Sanbaopeng Art Museum, always present people with artworks that are different from traditions and full of vitality, as well as works that express the artists’ own ideas in terms of materials, forms, and craftsmanship. The expressive works always catch people’s attention, as if you can feel the great power from the young generation, transmitted by the thousand-year porcelain capital. If the academic exhibitions held by young ceramic artists in the past were serious and cautious and exploratory, then today in such a city full of traditional ceramic culture, a city where ancient and ceramic civilizations are fused everywhere, in such an integrated city here in Jingdezhen, the exhibition From "Road & Origin" to "12 Features " is not only an academic demand, but also a deep respect to the ancient porcelain capital. Meanwhile, it is also the common aspiration of the Ceramic Art Committee of the China Artists Association and the Sanbaopeng Art Museum.

展览现场

这个展览由12个人组成，他们在上个世纪末和本世纪初在中国的高校受过良好的教育，这其中有人还在国外留学，去世界游历。正是这一代人，在今天已成为中国今日陶瓷艺术的重要的参与者。我曾经为他们中的一部分人在广州、北京做过展览。这些人常常出现在中国陶瓷艺术的重要大展和国家级艺术活动中，但是将他们组织在一起，在景德镇做一个展览一直是我的愿望。因为这些人使用的陶瓷原料、工艺，甚至是对待陶瓷的理解方式都源于这个伟大的城市，这些人来自全国各地，但都不约而同地将目光聚焦在景德镇，聚焦在这样一种纯粹而挑剔的材料的表达上，因此，让这些作品在景德镇被人看见更具有独特的意义。

This exhibition consists of 12 individuals who were well educated in Chinese colleges and universities at the end of the last century and the beginning of this century, and some of this group also studied abroad and traveled the world. It is this generation that has become an important player in the ceramic art of China today. I have held exhibitions for some of them in Guangzhou and Beijing. These artists often attend important exhibitions and national art events of Chinese ceramic art, and it has always been my desire to organize them together and hold an exhibition in Jingdezhen. It has great meaning to let more people see these unique artworks in Jingdezhen, because the ceramic materials they use, even how these people understanding ceramics originate from this great city, and these people come from all over the country, all of them coincidentally focus on Jingdezhen, with the expressions by such a pure and discerning material of ceramic.

我们惯于在陶瓷的语言中获取“美”的信息，但其实“美”在这个时代中已经有了更广泛的边缘和弹性的空间，甚至“美”本身的词性、词义也在随时代改变而转型，它从一个悦目的视觉开始，但不再仅仅是停留在悦目的感官愉悦里，不再仅仅只是视觉的精美绝伦与技艺精湛，而是由新的造型与新的创造成为由表及里带来思想与灵魂的问答中寻求自我安慰方式的更新。这一代年轻艺术家受着中国深厚陶瓷文化的熏陶与教养，又敏感于时代的发展关注到世界艺术的潮流。每个人都在陶瓷材料与泥与火的元素中发现自己精神上的追随或皈依，将自己对陶瓷艺术的理解转化为各自在作品上的情态诉求。

We are used to getting "beauty" in the language of ceramics, but in fact "beauty" has taken on a broader edge and flexibility in this era, and even the word "beauty" itself is changing with the times. It starts from a pleasing vision, but no longer only in the sensory pleasure of eyes, no longer only in skills, but from new shapes and new creations to the renewal of the way of seeking self-soothing in the question and answer of the mind and soul from the surface to the inside. This generation of young artists is nurtured by the profound Chinese ceramic culture, and sensitive to the development of the times and the world art trends. Everyone finds their spiritual following or conversion in the ceramic material and the elements of clay and fire, transforming their understanding of ceramic art into their own emotional appeal in their works.

张明

Zhang Ming

张明的作品场域宏大，但语言却极为单纯，个体形式趋于极简。他在自然中抽取了一个元素——一个不同弧度、不同大小的半圆，在他的场域性作品中自由组合，如山形层峦叠嶂，如江南烟雨漫舞。这大大小小的形态组合极大地拓展了作品的审美场域，犹如诗歌般在我们的意识里拨弄着我们的思维神经。他的作品由单一元素组合以适应不同的展示空间和效果，并以单一元素组合形成丰富的最终作品形态，既可成为抽象也可成为具象。是一位将陶瓷材料在空间中的表现进行了拓展的艺术家。

Zhang Ming’s works enjoy a grand scope, but the language is extremely simple and the individual forms tend to be minimal. He extracts an element from nature — a semicircle of different radians and sizes, and gives creativity free rein of combinations in his field works , outlining range upon range of mountains, Jiangnan (south of the Yangtze River) in misty dim rain. This combination of large and small forms greatly expands the aesthetic field of his works, as poetry fiddling with the nerves of our minds in our consciousness. His works consist of single-element combinations to fit in different display spaces and effects, and form a final splendid work, which can be both abstract and concrete. Zhang is an artist who extends the expression of ceramic materials in space.

张明作品：《云语山水》

王长平

Wang Changping

他的创作呈现了他对疫情的关注与思考。他的“枯山水”不像是人们想象的形态各异的石头与白石子之间的关系，那一片白石子变成一粒一粒的药丸，一下将一个视觉上的园林小景形式转换为这个时代中与每个人的生活息息相关的隐喻方式，而这种隐喻让观者惊心动魄。他的“鲜花”也是在一堆药丸的培植下生长出来的一系列“鸟食罐”，鸟食罐外面的文字是网络的流行语，他让他手中的植物之“花”也开得让人胆战心惊。他的“包裹系列”其实也是这个时代生活的写照，我们处在一个物流的时代，物流既提供了生活的方便，同时造成了包装品的污染，这是对物欲消耗的反思。他将一个用于包裹物体的柔软材料替换为脆弱并需要包裹的瓷，这样的转换既是心理的，也是视觉的。

The works of Wang Changping are featured with his concern and contemplation on the Covid-19. His Zen Gardens（Karesansui）does not resemble the relationship between various-shaped stones and white rocks as one might imagine, however the white rocks are transformed into piles of pills, instantly turning a visualized garden landscape into an thrilling metaphor for viewers that intimately linked to individual life in this era. Similarly, nurtured by a pile of pills, his “flowers” are a series of Bird Feeders decorated with Internet buzzwords on the surface while the flowers of plants in his hands bloom in a frightening way. In fact, his Package Series — a reflection of our contemporary life, mirrors materialistic consumption because we are living in an era of logistics that brings about convenience for life but also causes the pollution of packaging products. He replaces a soft material to wrap objects up with porcelain, which is fragile and needs to be wrapped. Such a transformation is both psychological and visual.

王长平作品：《桃花源记》

李立宏

Li Lihong

李立宏的艺术风格具有明显的波普色彩，但是他的波普却非常的东方化。比如他作品中的心形、铅笔以及花与阿拉伯数字，你会在这样明显的波普语言中非常自然地感受到中国式审美的强韧提示。这样奇异的审美经验源于他作品的材料、成型工艺与确立空间的方式——这些作品既是陶瓷容器的暗示，又是一种以“空”为诉求的哲学方式的隐形表达，比如他的“8-CHINA”和“派- China”采用负空间和阴影效果来表现，这样一个表达方式增加了作品的成型难度和成型时间，但却非常中国化。他的“梦”更具有设计色彩，整个形体类似于一个容器，但却有速度，有方向。这件作品具有多样的陈设效果，这种作品的多变性恰恰是在波普的外表下的东方思维。以波谱介入生活、介入时代不仅是他的特征，也是他对这个时代的“医心术”。

The artistic style of Li Lihong excels in distinct Pop colors, but his pop is rather oriental. For instance, the hearts, pencils, flowers, and Arabic numerals in his works make the viewers naturally feel the strong implication of Chinese aesthetics in such a distinctive Pop art language. Such a bizarre aesthetic experience stems from the materials, the molding process, and his perspective of space establishment during creation — they are hints of ceramic vessels and implicit expressions of a philosophical approach to “emptiness” (Śūnyatā), such as his 8-CHINA and Pie-China. Negative space and shadow effects are both employed, triggering his works more difficult and time-consuming to form but featured with Chinese style. His Dream is more design-oriented, and the whole shape resembles a container with velocity and direction. This work has a variety of display effects, and the versatility of it precisely presents the oriental thinking under the coat of Pop art. To speak for life and the times through the spectrum of Pop art is not only his characteristic, but also his medicine of this era.

李立宏作品：《医心术》

彭赞宾

Peng Zanbin

彭赞宾的作品有明显的水墨意蕴，但只是形式上的借鉴，一种视觉的引导，其作品核心是他在景德镇受的教育和在景德镇陶瓷学院作为教师的二十余年中对景德镇陶瓷文化独特的观察和记忆。他最新的作品“仿古新变”、“石的记忆”、“天使之门”就是在这样的许多记忆的综合改变下导向了一种游离在传统和表象之外的新视觉。作品自然的外表和丰富的肌理都是精心安排的，这使他的作品在自由中仍然清晰传递着内敛谨慎的情感方式。总体上他的作品是在探讨材质与烧成这样一个独特的成瓷方式，他借助这样充满能量的材料，表达的却是水墨清远的审美记忆和他的内心世界。生活与记忆本身成为他作品的综合表达。他的作品外表新颖，却安静而怀旧。

The connotation of Ink and Wash Painting is imprinted in Peng Zanbin’s works but they are just reference in form and visual guidance only. The core of his works lies in his unique observation and memory of Jingdezhen ceramic culture from his education in Jingdezhen, and his teaching experience of more than twenty years at the Jingdezhen Ceramic University. His latest works Transformation of Antiquity, Memory of Stone and The Gate of Angels are a combination of such memories that lead to a new vision drifting along the external of tradition and outlook. The natural outlook and rich texture of his works are elaborately arranged so that his works are still clearly woven with an introverted and discreet emotion in freedom. Generally speaking, his work explores the material and firing as a unique way of porcelain forming and he attaches such energetic materials to express his aesthetic understanding of ink and wash painting and his inner world. Life and memory have become the language of his artworks that surprise you on the outside but quiet and nostalgic on the inside.

彭赞宾作品：《时间与空间中的墙》

沈厉

Shen Li

沈厉的作品与过去已有较大的改变，他平时言语不多，属于交流被动的类型，但却有独特的个人思维体系，在自己的闭环中通过大量的阅读来佐证自己的思考。他的内敛是由敏感的沉淀带来的，所以他能捕捉到时代、生活、旅途给予他的内心震撼，这让他的作品承载了他在思考转型之后所形成的独特形式与材料认知。他借助于永恒的瓷和小的作品体量，建立起自己漫长的思想轨迹，犹如在旅途中闪烁而过的长路与窗外的景象在速度中游离虚化，但在记忆中却反而更加凝重。他并没有借助具象的形式，而是深情地将这样的生活感受和内心浓烈似漆的情感天然地倾注在单纯的瓷土材料和单一的形态甚至是单一的色彩中，这让他的作品具有了值得凝视并在缓慢的视觉移动中慢慢与他靠近的特质。他的作品让我看到了干净，这干净不仅是作品形态，也是心灵。

Compared with the past, Shen Li’s works have witnessed considerable changes. He is not a talkative person but a passive-communication type. His unique way of thinking system supports his through a lot of reading in his own closed loop. His introvert personality is brought about by a sensitive accumulation, so he is able to capture the enlightenment given to him by the times, life, and journey, which makes his works bear unique forms and material perception formed after thinking transformation. With the aid of the features of forever-lasting porcelain and small volume of works, he builds up a long track of thoughts as if the long road that flashed by during the journey and the scene outside the window drifting and blurring in sprint, but it is more solemn in retrospect. He does not resort to concrete forms, but deeply pours such affectionate feelings of life and ardent emotions naturally into simple ceramic clay and one single form or even one single color, which gives his works the quality of worth gazing and slowly approaching him in the slow visual motion. His works show me purity, not only in the form of his works but also his soul.

作品：《烈日之下系列》

虞锋波

Yu Fengbo

虞锋波创作工业手套有些年头，他对工业手套持久的关注源于他从隔离式的工业化手套中发现了让他隔离时代的方式，但是他将这样的手套集群式地展现出来却不再是用来展现隔离和安全，反而塑造了一种集体求救般的灾难式的场域，至少有挣扎的诉求。他将这样的作品密密麻麻地陈设出来，配以悬挂于墙上的瓷板画，借鉴传统的水墨方式，甚至在瓷板画中也隐隐的透出手套里直立向上延伸的手的姿势，这种影射和陈设方式又比较靠近传统，这就组成了他作品的荒诞感，甚至是戏虐感。

Yu Fengbo has been working on industrial gloves for several years, and his lasting attention to industrial gloves comes from the fact that he figured out a way to isolate himself from the era through isolated industrial gloves. However, he presents such gloves in clusters not to show isolation and safety anymore, instead, to shape a catastrophic field like a collective cry for help, or at least a struggle. He displays such works in a high density with porcelain plate paintings hanging on the wall, based on the traditional ink and wash painting. The posture of hands extending upright in the gloves is vaguely revealed even in the porcelain plate paintings. Such projection and display are closer to the tradition, mirroring a sense of absurdity in his works.

作品：《对话生命系列之一》

许润辉

Xu Runhui

许润辉的创作量巨大，他从未停止在陶瓷语言探索上的努力。2019年全国美展的平行展中我邀请他参与了“迁徙泥性”的展览，这是一个重要的展览，他的作品“一线天”就在其中，时隔几年，他又做了大量的作品，像“12平米局部”、“空心砖”和“黑白局部”，这些都是他取材于他视觉所见的生活中的具体物件，比如摄像头，我们每天都在这样的镜头下生活，由于摄像头也在艺术界被广泛地关注，让我感到有趣的反而是同时期创作的空心砖与镜框。将这些作品合在一起时意义就出现了，他不仅关注到日常生活的科技变化与被注视，还关注到了空心砖的文化意义转换。在这里空心砖不再只是形态，而是强烈的心理暗示，在这样的快节奏中，“空心”已成为生活中实实在在的困惑之一，我们在快速的注视与被注视中无所依靠，但他没有简单地诉说，而是用一种基础元素“空心砖”来表达，空心砖在建筑史上是一个伟大的发明，它减轻了建筑的体量和自重，却又有比原普通方砖更具有承受力的力学结构。同样他关注到了镜框，一个为了保护绘画或陈设内容的外部结构，但是这样的一个外部结构却是断裂的、拼凑的黑白两色。这不一样的主题加在一起就让我更丰满、更真实地感受到许润辉在他看似随意和入世的生活方式之中的另外一面，而这样的一面又在芸芸众生中随处可见。

Xu Runhui is a prolific artist who has never ceased to explore the language of ceramics. During the 2019 National Art Exhibition, I invited him to take part in one of the important parallel exhibitions — The Migration of Clay Characteristic, including his work A Thread of Sky. Several years later, he has created a myriad of works, such as 12 Square Meters Section, Hollow Bricks and Black and White Section. All these works come from concrete objects in our daily life, such as cameras, where we live in every day. Since cameras are also widely discussed in art, what intrigue me are the hollow bricks and picture frames he created during the same period. Combining all these works together attaches a new meaning to them, as he is concerned with the technology reforms as well as the transformation of the cultural meaning of the hollow bricks. Living in this quick-fix society, “hollow” has literally become one of actual confusions in our lives. We have nothing to rely on with fast watching and being watched. Instead of simply telling, he employs a basic element “hollow brick” to speak for himself. “Hollow brick” is a great creation in the history of architecture, alleviating the volume and weight of buildings, yet has a more bearable mechanical structure than original square tiles. Meanwhile, he also pays close attention to the picture frame, a kind of external structure designed to protect paintings or displays but broken and patched in black and white itself. The combination of all these different themes allows me to drench in the other side of his seemingly casual and secular lifestyle, which is ubiquitous among all human beings.

许润辉作品：《空心砖》

戴清泉

Dai Qingquan

戴清泉的作品有明显的绘画性，由于职业的关系，他自然而然地融入了质地起伏的肌理来阐释他对绘画的笔墨情结，他的作品整体气韵清新，类似于传统的青绿山水，但近观却在这山水之中找不到具体的由来，一切都消散了，又回到了材质的微妙起伏与光影的变化之中。他的釉色与这样的起伏融为一体，形成绵延不断的自然联想。在这样的作品中，线条与色彩起伏好似心中远方的山峦和湖面的波浪，看似毫厘之间，气韵却绵延不绝。他在陶瓷的釉色与微妙的肌理之间所建立起来的新的陶瓷语言的探索在景德镇具有独特的意义。当然，他也做在形态上有所创造的陶艺作品，这些作品与他的绘画作品审美上是一致的，但在形式上却极为不同。他想建立一种形态的重构，但这些重构里面仍然是他平面思考的语言方式，所以这让他的作品反而具有了清简的意义。

Dai Qingquan’s artworks show many characteristics of paintings. Due to his profession, he naturally incorporates the undulating texture to illustrate his love of painting with ink and brush. The overall freshness of his works resembles the traditional green landscape, but on closer inspection, no specific origin can be found in this landscape. Everything disappears and returns to the subtle ups and downs of the material and changes in light and shadow. His glazes color merge with such undulations, forming a continuous natural association. In such works, the lines and color fluctuate like the waves of distant mountains and the lake in his mind, seemingly in a fraction of a second, but with an unending rhythm. His exploration of a new ceramic language established between the glaze and the subtle texture of ceramics is unique in Jingdezhen. Of course, he also makes pottery works that different in the form, which are aesthetically consistent with his paintings, but extremely different in form. He wants to establish a reconstruction of forms, but inside these reconstructions is still his flat thinking way of language, so this gives his works a clear and simple meaning instead.

戴清泉作品：《侵蚀的物象》

吴昊宇

WuHaoyu

吴昊宇是这一年龄段里面创作成熟，已具风格的艺术家。他的作品常常出现在国际和国内的展览上，也多次获奖。他的作品从材料中，从单纯的白瓷的语言里面深入到了中国传统文化的核心，那就是他在思考一种感知中的“软”与“硬”，以及永恒与情感之间的关系。这使他的作品导向对石材以及纸张的偏爱，纸张的嵌入使得一种极为独特的视觉语言出现在他的创作系统里，一块坚硬的石头生出这样柔韧的纸张仅仅只是靠肌理的变化就达成了这样一个软硬的综合与链接，这是一个很奇特的角度。这样的角度里蕴含了陶瓷元素的表达方式和情感诉求，使翻模注浆这样一个极为传统的工艺手法变得更加具有可能性，也使他在这样的语言体系中具有独特的价值。翻模注浆被国内外的现当代陶艺家广泛地运用，凡是对陶艺有所了解的人都能举出许多例子，吴昊宇却显出作为个体认知上的他的价值。除此之外，他的作品中有瓷质材料挥之不去的儒雅气质，在不同的空间里，既可以独立存在，也可以系列并置。他对作品整体形态的把握又属于他个人的理解方式，他选择的这种工艺手法也天然契合了他的表达，我认为最重要的是他在陶瓷的世界里建立起了他个体的价值。

WWu Haoyu, a well-established artist in this age group, enjoys a myriad of domestic and international award-winning works. His works go deep into the core of traditional Chinese culture from material, from the language of ceramic white porcelain, he is constantly pondering the relationships between “softness” and “hardness” in our perception, and between eternity and emotion. That leads his works to a material preference for stone and paper. The embedding of paper builds in a unique visual language in his designs. Such a pliable paper grows out of one hard rock, just by texture variations to achieve the synthesis and connection between the hardness and softness, throwing a light on a bizarre perspective woven with the approach to expression and emotion for ceramic elements. That perspective gives such a traditional craft as mold turnover and grouting more possibility and adds an unique value in its language system. Mold turnover and grouting has been widely employed by contemporary ceramists at home and abroad, and anyone who has basic knowledge about ceramics can cite many examples, however, his distinctive values stand out as for individual cognition. In addition, his works are featured with an unfailing elegance of porcelain, in different spaces, where can be displayed independently or juxtaposed in series. His grasp of the overall form, his personal approach to understanding, and the technique he employed all naturally resonate with his expression. Most importantly, Wu has established his individual values in the ceramic world

吴昊宇《新石器系列》

袁乐辉

Yuan Lehui

袁乐辉真诚、不善言辞，甚至说话间都不经意地流露出腼腆和某些怯意。这是个内心丰富的人，他在景德镇受教育，也在景德镇做教师，他与金贞华一样留学过韩国，但他选择的是雕塑形态的创作方式。他常常塑造一个歪着头，安安静静的，好象需要依靠的形象，但是这样的形象并非是无助，它的依靠好像有某种沉醉的方式，既可以沉醉在柔软的云上，也可以沉醉在自然山水；既可以沉醉在人与人的交往中，也可以沉醉在幻想的境界中。这种沉醉不需要语言，好像只要靠在一起就足够了。这些作品并没有借助莹润的釉色来表达，而是用了一种朴素的、类似于传统化妆土的形式，使他的作品表层具有了材料的特殊质地，传递了一种信任和质朴的温暖，一种不需要去证明的亲近感，我常常被他这样的形式所打动。

Yuan Lehui was sincere, introvert, and even inadvertently showed shyness and some timidity while speaking. He is a man with rich inner world. He was educated in Jingdezhen and is also a teacher now in Jingdezhen. He once studied in South Korea like Jin Zhenhua, but he chose a sculpture as his way of creation. He creates a figure that tilts his head, quietly, as if he needs to rely on someone or somewhere. But such a figure does not deliver the message of helplessness but seems to have a certain way of intoxication. It can rely on the soft cloud or the natural landscape, either in the interactions between people, or the realm of fantasy. This intoxication doesn't need any word, as if leaning together is enough. These works are not expressed with the help of lustrous glaze, but with a simple form like the clay, giving the surface of his works the special texture of the material, conveying trust and rustic warmth, an intimacy that does not need to be proven, and I am often impressed by such an art form.

袁乐辉作品：《林语》

金贞华

Jin Zhenhua

金贞华的作品没有人们想象的那样极端，她的作品有从容和优雅的一面，安静里生机勃勃。没人知道这样新颖作品的成型手法竟是极为古老的拉坯成型和泥条盘筑，用瓷土，并借助传统的方式来表达这样一个开合舒展的形态，在光影中展现出犹如鲜花、亦如太空星球的形态联想。她作品中的圆润和舒展与出人意料的角度的转折让人惊艳，这样看似不大的个体，竟然能变化出无穷的不同来，我从中看到的更是她安定的心性和感受泥土在自己手中变化时发自内心的真诚，她那类似于设计形态的单一作品个体通过装置组合的方式在光影中形成一个场域，那是她心中的“花”的世界。金贞华是少数在容器性作品的创作上一直坚守的艺术家，也是将容器的创作带向丰富和具鲜明个人风格的艺术家。

The works of Jin Zhenhua are not as extreme as people imagined but featured with easiness and grace, vitality in serenity. No one learns that the forming method of such a novel work is done by an extremely time-honored craft - throwing and coiling clay strips. Meanwhile, through traditional ways to present such an opening and stretching form, setting our minds free to imagine flowers and planets with the aid of light and shadow. The flexibility in her works and unexpected angles are full of refreshment. It is amazing how such seemingly small individuals can vary endlessly. What I saw from it is her tranquility of soul and sincerity of feeling the clay forming in her hands. The field that is built of her seemingly small works through installations with light and shadow, that is, her world of “flower”. Jin is one of the few artists who has kept working on vessel works with distinctive personal style and devoted to bringing more possibilities to it.

金贞华作品：《方向》

孙月

Sun Yue

孙月是这个展览中最年轻的艺术家，清华大学美术学院毕业，留学德国，现在清华大学美术学院任教。她的作品更呈现出一种对陶瓷艺术、对环境、对时间的系统性观察方法，从而也形成了她独特的创作方法论。她作品的成熟超越于她的年龄，这与她对陶瓷材料的沉迷和依赖有关：这样一个材质在她读本科的时候就触发了她愿意将时间、精力、情感花在每天与泥土的接触和与火的温暖相依靠之中，当然，她快速从这样的依赖中找到了陶瓷脆弱的本质，又快速由这样的脆弱触及到了时间与生命的本质。所以她的作品不再是某种具体的元素，而是成为一个整体，甚至包括影像和环境，它让我们从另外一个角度来看材料和视觉对人情绪产生的微妙影响。轻盈的花絮和成为永恒的石质竟然可以在她的作品里面融为一体，这让我联想到中国古代的园林，那些坚韧而富有表情、近乎永恒的石头旁边总会出现一岁一枯荣的植草。

Sun Yue, the youngest artist in this exhibition, graduated from Academy of Arts & Design , Tsinghua University, studied in Germany, and now teaches at the Academy of Arts & Design , Tsinghua University. Her works present more of a systematic approach to observing ceramic art, the environment, and time, thus also forming her an unique creative methodology. The maturity of her works transcends her age, which is related to her love to ceramic material: such a material triggered her willingness to devote her time, energy, and emotions to clay and the warmth of fire when she was an undergraduate. Of course, she quickly found the fragile nature of ceramics from such dependence, and quickly touched the nature of time and life from such fragility of ceramics. Then, her work is no longer a specific element, but a whole, even including images and environments, which allows us to see the subtle influence of materials and visuals on human emotions from a different perspective. The light flower flakes and the eternal stone can become one in her works, which reminds me of the ancient Chinese gardens, where the tough and expressive, almost eternal stones always appear next to the grasses coming and going with every season.

孙月作品：《等》

这个展览组成了一个奇异的群像，即题目中所说的“从’路由’到’12象’”。这12位艺术家呈现了中国今日陶艺的一个浓缩与切片，它不代表全部，却清晰地触及了中国现当代陶艺创作中的重要层面。这个群体有着鲜明的指向：我们可以看出他们掌握了陶瓷创作的娴熟技巧，拥有源于传统的文化审美，却不由自主地与时代靠近，重新思考陶瓷艺术的表达方式；我们还可以看到他们均受过良好的教育，了解传统也了解西方，但他们在现当代陶艺的创作中快速地沉入到自己的内心，持续在陶艺的本体语言中拓展属于自己在这个时代的独特表述。我们还看到了他们的困惑，更看到了他们鲜活的思想，看到他们在创作语言上的拓展，也看到了他们在拓展过程中所诞生的新的表达、新的技巧和新的展陈方式。我们无法将他们简单地划为传统中的现代，亦或是技艺里的观念，他们在今天新的世界艺术的背景中具有浓郁的中国陶瓷艺术家身份的呈现。我认为他们的作品实现了传统陶瓷向现当代陶瓷转换，在这个过程中借助了西方现当代主义的艺术形式和观念，但却生出了今天中国陶艺的样子——既不割裂传统，也不模仿西方，而是各自感受自己的生活，感受这个时代，各自真诚地由自己的创作和真情中生出各自的语言。

This exhibition forms a strange group portrait, From “Road & Origin” to “12 Features” as the title suggests. These 12 artists present a condensation and a slice of Chinese ceramics today, which does not represent the whole, but clearly touches on an important aspect of Chinese contemporary ceramic creation. This group has a distinctive point: we can see that they have mastered the skills of ceramic creation and have a cultural aesthetics that originates from tradition, but they cannot help to get closer to the times and rethink the expression of ceramic art; we can also see that they are all well-educated with understanding of the tradition and the West culture, but they could follow their hearts in the creation of modern contemporary pottery, and continue to expand their own expressions in the pottery creation. We also see their confusion, their vivid thoughts, their expansion in creation, and the new expressions, new techniques, and new ways of display born in the process of exploration. We cannot simply classify them as modern in tradition or conceptual in technique; they have a strong presentation of Chinese ceramic artists' identity in the context of today's new world art. I believe that their works they have taken advantage of Western modern and contemporary art forms and concepts, but they gave birth to the appearance of today's Chinese ceramic art - neither fragmenting tradition nor imitating the West. They just live their own lives and feel the times, create their own language from their own creations and true feelings.

每一个艺术家都是可贵的个体，当许多个体汇集到一起时，时代的样子就变得清晰明了。

Every artist is an individual with great value. When individuals gather, the appearance of the era becomes clearer.

2021.10.1

白明

中国美术家协会陶瓷艺术委员会主任

清华大学美术学院陶瓷艺术设计系主任、教授

博士生导师

—— 相关链接 ——

展览预告 | 无限的折叠与蔓生 12相——当代陶艺作品邀请展

策展前言|白明：从“路·由”到“12象”（下）

策展前言|白明：从“路·由”到“12象”（上）

展览名称