意識畫廊在2021年初，很榮幸邀請到入圍2020韓國世界陶藝雙年展現場決選的朱芳毅老師來舉辦個展，這是朱老師在臺灣首次的實用器皿個展，這次個展作品有別於他以往圖像與物件裝置系列風格，以陶瓷的基本層面「實用器皿」來呈現。朱老師特地整理了這一、二十年來製作實用器皿的過程和想法，作一個陶瓷材質實驗、容器使用和功能性的概念呈現，作品涵蓋茶具、餐具、花器、蓋罐等日常可賞可用的器物，風格上有柴燒的自然火痕落灰、青瓷的溫潤細膩設計和土與金屬釉藥融合的渾厚粗獷等豐富質感，且形體上都不以規矩方圓來呈現，企圖要呈現出陶瓷手做痕跡和土的極大韌性，每件作品自然都是獨一無二的手握質感和雕塑式的美感，從材料製作、裝飾燒製、空間呈現到使用美學，是以藝術欣賞的觀看角度帶進作品過程所留下的痕跡，留住當下流動時間的片刻，拉近作品與心的距離。

In early 2021, Yesart gallery is honored to invite Mr. Chu, who was shortlisted for the 2020 South Korean World Pottery Biennale, to hold a solo exhibition. It was Mr. Chu’s first solo exhibition of functional ceramic in Taiwan. The works in this exhibition are different from his previous series of images and object installations, and are presented with the basic level of ceramics “functional ceramics”. Mr. Chu sorted out the process and ideas of making functional ceramics in the past two decades, and presented a concept presentation of ceramic material experiment, container use and functionality.

The work covers daily and functional ceramics such as tea sets, cutlery, flowerware and lid cans. The natural fire marks with firewood in the style are from natural ashes. The warm and delicate design of celadon are rough fusion of soil and metal glaze , which has a rich texture. The shape is not presented in a regular square. He tried to show the ceramics hand-made traces and the greatest toughness of the soil. Each work is naturally unique in texture and sculpture. From material production, decorative firing, space presentation to aesthetics of use, in the perspective of art appreciation, watch the traces left by the process of creating the works. Keep the moment of current flowing time, and close the distance with our hearts.

《創作自述》
土一種中性的介質，可在主動與被動之間來回記錄著，經由無數環境的蛻變形塑了本質上的特性與它者的差異性，而透過自然的質性變化和一連串的人為操作過程，也讓這本質上的差異更有了突顯的性格，而在這中間反覆循環的過程中已留下無數個紀錄，造就形成陶瓷的痕跡。

不管是人為刻意的製作線條還是陶瓷媒材的質變過程呈現，都可視為陶瓷紀錄的痕跡，然而在陶瓷控制過與不及之間，往往都在執著於心態完美平衡的表現，而忽略了土和陶瓷在實踐過程中也留下許多軌跡，縱然是不可抗拒的材質極限效果或是階段性不經意的實驗印記，都彌足珍貴。

而透過陶瓷痕跡的紀錄可思索時間的流動與累積的過程，這是陶瓷擁有文化與使用功能的雙重使命，然而在當代藝術觀念推動下，痕跡也是證明自我存在的方式之一，所以在穿梭古今的時代裡唯有陶瓷器物能顯現文化痕跡的同時，也記錄著藝術工作者勞動操作與陶瓷質地的推疊過程，並以器皿角度和承載內容物的使用美學關係來呈現。

在當代多元藝術環境的薰陶下，陶瓷不再只是搏埴為器，現今已是許多藝術和設計的媒介，也在未知跨界領域裡持續擴張且發酵著，然而唯有陶瓷器皿能夠完整梳理紀錄文化歷史和人文生活的痕跡，發倔材質美學和功能應用等面向，呈現出人土合一的東方藝術哲學思想。

Title：Traces- Chu Fang Yi Solo Exhibition of Functional Ceramic
《Statement》
Clay is a neutral medium which can be documental, it is a recording process that can go back and forth between the initiative and the passive. The transformation of numerous environments forms its fundamental features, as well as its differences from other mediums. Through the qualitative natural changes and a series of process operated by man, the distinctive nature of clay is then magnified, allowing its unique character to shine. What is left behind this repeated circulating process are the countless records that forms the traces of ceramics.

Whether if this displays the contours that were deliberately created by man or the pure transformation of material, the traces left behind is a ceramic documentary. The balance of control in the ceramic making process reveals the perfect balance of the attitude that is kept within the mind of the maker. The neglected clay and ceramics have also left behind many trajectories, even though the material itself has its irresistible limits or the experimental imprints inadvertently created during various stages, all what remains on the work are extremely precious.

We can ponder the flow of time and the accumulating process through the traces of ceramics, this is a dual mission that ceramic holds in the aspects of culture and function. Yet due to the conceptual development of contemporary art, traces can be seen as a way to prove one’s existence, therefore if we examine our past to the present, we can understand that not only ceramic vessels display the traces of culture, but it records the laborious process of the maker and the accumulating process of surface texture, it also exhibits the perceptive of the vessel and functional aesthetics.

Through the positive influence of a diverse artistic environment, ceramics is not only a process of making pots, but a medium used in the field of arts and design, it will also continue to expand and flourish in other unknown arenas. It is only the ceramic vessel that can completely document the traces of cultural history and the life of humanity, moreover, it can discover the aesthetics of material and functionality, presenting an Eastern art philosophy on the unity of man and clay.