日期：2021-01-02 ~ 2021-02-07
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.
Title：Traces- Chu Fang Yi Solo Exhibition of Functional Ceramic
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.
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