非池中藝術網

1994年 出生於臺灣臺北，現生活於臺灣高雄

2022年 畢業於 國立臺南藝術大學 應用藝術研究所 陶瓷組

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重要經歷

2023年 第 21 屆台新藝術獎－《褶肉記》提名與入圍，台新藝術基金會，臺北，臺灣

2023年 高雄獎－首獎，高雄市立美術館，高雄，臺灣

2023年 格蒙登陶瓷駐村展覽，GMUNDNER KERAMIK，格蒙登，奧地利

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藝術家自述

蔡佳宏，出生於1994年。2016年畢業於國立臺南藝術大學，材質創作與設計系。2022年畢業於國立臺南藝術大學，應用藝術研究所陶瓷組。

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現居於臺北、高雄。為藝術創作者與視覺設計師。面對著個人的身體狀態與肉身記憶，我關注的是如何在創作過程中召喚出潛在的情動力，在陶瓷創作的領域中，反覆實驗「土」與「身」之間的多重纏捲狀態 — 讓「意識」、「肉身」與「物質」，在陶土創作的過程中，產生一種新的關係與重組，身體猶如一張被潛抑的情緒地圖，同時也是一座被記憶所雕塑的軀體。

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「土」這個媒材已非僅僅是展現我思想的載體，其中具有更深層的意義：與我的生命產生緊密連結所畫出的蜿蜒軌跡，雖有其內向性，卻也同時展現「人的生存普遍情狀」。在創作過程中，陶瓷雕塑在飽含著儀式性的摔、揉、捏、塑的過程中，在這看似不顧結果也無關視覺美感的動作下，是從無到有的堆疊；再從有之中掏空與變形，或許有重建也有破壞，這其中所有紛雜細碎的思緒在經歷火的燃燒後凝固定格，也彷彿自我的一部分得到了安頓與輕盈。

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目前正在積極處理陶瓷創作如何進入場域、如何形塑出更開放的文本，跳脫陶瓷物件的獨立及隔絕性，從單一物體滲透到空間場域，同時探討當代陶瓷在展演時的各種可能樣態。透過空間調度整合場域，從凝視到環視，擴展物件本身具有的能動性，嘗試重塑陶瓷雕塑的觀看形式。

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創作理念

系列一《肉、身》中，透過陶土經驗肉身之謎的除魅與揭開。以盤土條的方式，從底部建構到頂部；或將各結構拆組再拼接。過程中身體帶動手指將土往外推擠、往內壓縮，讓身體與土塊同步進入到相互造型的過程。視覺上呈現身體內部器官組織，猶如動脈、靜脈之中的血液竄流：彎曲凹折的姿態流洩垂墜；捨去皮膚表層的內部質地；散發著濕潤光澤與黏稠。身體，作為承載意念的容器──將一直隱身在後、早已習以為常的存在，擺回前方端詳凝視。

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系列二《花》中，我試圖將《肉、身》中的身體形象，混合草木藤蕨的線條，深藍色及綠色開始擴延滲透進肉色。有別於現實中花卉的纖細模樣，將花瓣、根莖、葉片都加厚膨脹猶如肉體般，隨著重量往下垂落，同時向外生長。

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系列三《果》中，從日常果物深入 — 口腔作為介面，成為往後關注的內在空間。味覺作為滲透身體的另種途徑，「進食」顯示了我們的需求、慾望、甚至生命的驅動力。首先，我會找到日常的果物，先仔細凝視，讓水果的身影殘留在腦海中，然後再將它塑造出來，過程中很少再將實體擺回我的視線裡了。也因此完成的模樣，看似可以辨認出是哪一種果物，但又不是寫實的臨摹，這是介於我的身體感知與想像之間的綜合體。《果》系列透過坯體與釉藥的流動，從水果的表面型態到將它們「剖開」內視，內部的果肉種籽，在眼中映照出：猶如人體內部的組織結構。我將這樣的表現形式，挪移到敞開的水果之中。果肉與表皮在時間的消長中，逐漸從成熟走到腐爛和消逝。土在燒成的時刻凝結時間，停留在甜美的瞬間。

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系列四《團塊》中，面對大型雕塑 — 使用了十幾種白、灰色系的釉藥疊加，透明啞光、流動濃稠、孔洞發泡，將血色抽離獨留肉身線條，並加強骨架結構的生長，只在縫隙中透露出紅色，猶如器官在解剖前的初始狀態；抑或思考肉體回歸中性的可能模樣。

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此次在暮拉多元藝術空間的展出，以《花》與《果》系列為主要展示作品。

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b. 1994, Taipei, Taiwan. Lives and works in Kaohsiung, Taiwan.

2022 M.F.A., Tainan University of the Arts, Ceramics Group, Institute of Applied Arts

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EXPERIENCE

2023 The 22th (2023) Taishin Arts Award－Nominations and Shortlists, Taishin Bank Foundation for Arts and Culture, Taipei, Taiwan.

2023 Kaohsiung Award－First Prize, Kaohsiung Museum of Fine Arts (KMFA), Kaohsiung, Taiwan.

2023 Gmunden Ceramics Residency Exhibition, GMUNDNER KERAMIK, Linz, Austria.

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ARTISTS STATEMENT

TSAI, Jia-Hong, Born in 1994, Taiwan. Graduated from Tainan University of the Arts in 2016, Department of Material Creation and Design. Graduated from Tainan University of the Arts in 2022, Ceramics Group, Institute of Applied Arts.

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Currently living in Taipei and Kaohsiung. As an art creator and visual designer. How to call potential emotional driving through the process of creation is the path I keep exploring. For ceramics creation, what I repeatedly experiment with is a state of “things coiling around each other." I believe that “consciousness, body, and materials" in everyday life could be given a new set of sensory experiences restructured during the process of creating ceramics. A body is like a map of hidden emotions and a sculptured figure carved by memories.

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The medium of “clay" is no longer just a carrier to express my thoughts, it has a deeper meaning: closely connected with my life, the winding path left behind. Although it is introverted, it also expresses “human beings universal conditions of life". In the process of creation, ceramic sculptures are piled up from scratch in a process full of ritualistic throwing, kneading, pinching and shaping. Under these actions that seem to have no regard for the results and visual beauty, they are stacked from scratch; It is hollowed out and deformed, perhaps reconstructed or destroyed. All the scattered and fragmented thoughts are solidified after experiencing the burning of fire, and it is as if a part of myself has been settled and lightened.

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Currently, I am actively dealing with how ceramic creation can enter the field, how to shape a more open text, escape from the independence and isolation of ceramic objects, and penetrate into the spatial field from a single object. At the same time, I am exploring various possibilities for the display of contemporary ceramics form. Integrating the field through space, from gazing to looking around, expands the agency of the object itself, and reshapes the viewing form of ceramic sculptures.

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CREATIVE CONCEPT

“Flesh-Body" , the first in the series, used clay to undergo the body’s mysterious disenchantment and reveals. Through coiling, I built each work from bottom to top. On the other hand, I dismantle the original structures and then stitched them up. Going through the creation process, my fingers were led by the movement of my body, pushing clay out or pressing it in. My body and the clay bodies, at the same time, went through the process of mutual shaping. The works show organs and tissue inside the body such as blood flow in arteries and veins, which drape down in a curvy and wavy posture. I cast out the interior texture of the outer layer of skin and let things inside glow with moist gloss and mucous. As a thoughts-carrying container, the body had been hidden and taken for granted. It was now openly displayed for people to focus on. “Flowers" is the second in the series. I attempted to mix the body images of “Flesh-Body" with lines of vines and ferns. Dark blue and green began to spread and seep into mellow apricot. Different from delicate flowers in the real world, the petals stem, and leaves in this series were all expanded like flesh drooping with weight while growing outward. The third in the series is “Fruit". I dug into the fruit people have every day and took mouth as an interface. Therefore, the mouth became the interior space I focused on. The sense of taste has become another path to penetrate the body. “Eating" indicates our needs, desire, and even life’s driving force. First, I found common fruit in Taiwan. Second, I looked at the fruit carefully to imprint its form in my mind. Finally, I created one based on that image. During the process, I seldom looked at the real one again. Therefore, the complete form did seem like a certain type of fruit but was not a realistic copy. The form was a combination between my senses and imagination. The flow of clay bodies and glazes reflected the fruits’ forms and the open dissections done by me. The seeds and pulp reflected in the eyes were just like the human body’s interior organs and structure. I used this expressive form on fruits cut wide open. As time went by, the ripe pulp and skins became rotten and dying. The clay bodies were kept at a frozen moment of being ripe and sweet thanks to the firing process. “Chunks" ,the fourth in the series, consisting of large-scale sculptures. I used ten more shades of white and grey to glaze layers one over another transparent matte surfaces, free floating thick glazes, foamy canals, and pores. I removed the rosy color from the skin, kept the lines of the body, and improved the growth of skeleton structures. You can only see red through slits what organs look like originally before anatomized or you can think about what the body might look like as it returns to a neutral condition. This exhibition at The Moolah Multi – Art Space focuses on the “Flower" and “Fruit" series.