楊宗嘉：閃耀赤子
YANG Zong-Jia: Gleaming Innocence

Duration | January 6 — February 4, 2024
Opening | January 6, 2024 15:00
Venue | Hiro Hiro Art Space (台北市中正區紹興南街10號)
* 藝術家將於開幕現場導覽

2024年1月6日至2月4日期間，楊宗嘉於Hiro Hiro Art Space舉辦的個展，將透過手捏輕盈也脆弱的瓷塑，做出各式姿態的赤子，其表面細緻點綴著微光閃爍的輕透釉彩，粉彩色絞胎技法如變身魔法般粉光瑩瑩環繞，企圖化身成為「閃耀赤子」。

赤子，生而持有一顆無濁染的澄淨透明之心，脆弱是其組織勇氣的介質，毋需雕琢精緻的稜角，依然能色散出獨特的生命火彩。楊宗嘉長期以來皆以瓷作為創作媒材，陶瓷易碎，難以控制，一如生命本身，但他認為，這個世代的脆弱並不代表怯懦，承認脆弱亦是勇敢的表現。不僅以雙手精心盤條瓷土手塑成形，楊宗嘉更擅長實驗不同的瓷土、釉下彩、化妝土、釉上彩相互疊加的視覺效果，有時一樣的釉色在不同的釉藥上會呈現出意料之外的發色、截然迥別的質地，且透過手塗、噴槍等改變釉色的疏密度與飽和度，亦能創造出單一媒材不盡相同的樣貌。此外，每個釉藥能承受的溫度各異，這意味一件作品必須歷經至少三、四次的燒製，雖然費時，但他更不想止於一種結果，正如生命雖有許多無奈，妥協是一種選擇，但勇敢順應其中，亦能綻放不同風姿，楊宗嘉善用他對媒材特性的了解，以不畏失敗力求實驗出更多可能性的勇氣，使赤子在多次歷經不同高溫的淬煉後披上獨一無二的美麗外衣，他細膩地為他們一一點綴細小的星星、點點等裝飾，在光的映照下隱約閃耀，那是楊宗嘉贈予脆弱生命的勇敢勳章。

此次主視覺《變身寶盒》，創作的靈感源自兩部以「crystal（水晶）」為名的作品：文學家白先勇的《孽子》，其英文翻譯為「crystal boys」、以及改編自日本漫畫家武內直子作品的動畫《美少女戰士Crystal》。前者描述了華人背景的男同志族群在社會中的弱勢處境，儘管身處脆弱，每位男孩仍如同寶石水晶般，發散著與生俱來的瑩透光芒；後者則顛覆了男性為社會主要保護者的角色，描繪出女性同樣具有保護的堅毅力量。一是晶瑩剔透如水晶寶石的男孩們、一是能夠發揮晶瑩本質的女孩們，他/她們如同赤子般皆以最純粹的模樣閃耀著，而作品對於愛的詮釋，更如毫無雜質的水晶寶石般純然。

《變身寶盒》並非是為悉心珍藏寶石水晶的美麗，而是集結了最清澈的本質，化作蛻變的力量。脆弱使我們受傷，但承認脆弱，勇敢會使傷口康復，成為新的血膚，如同作品《銀蝕》、《黑黔蝶》在表面結晶成樸質銀礦、深邃黑墨，各自閃耀、各現美麗，以明澈的靈魂揭示於眾，垂首斂目，輕抿雙唇，默聲等待真實的樣貌能被入微覺察。

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YANG Zong-Jia: Gleaming Innocence

Duration | January 6 — February 4, 2024
Opening | January 6, 2024 15:00
Venue | Hiro Hiro Art Space (No.10, Shausing S. St., Taipei, Taiwan)

Hiro Hiro Art Space is pleased to present YANG Zong-Jia's solo exhibition, on view from January 6 to February 4, 2024. Through the fine and fragile porcelain sculptures, YANG hand-builds a diverse series of innocent children, each delicately embellished with lustrous translucent glazes. The spiraling pastel-color clay coils are reminiscent of the magical transformation sequences swirled with enchanting glow, seeking to transform into "Gleaming Innocence."

Innocent children are born with an untarnished heart, while vulnerability is the medium through which their courage is weaved. Without the need to be meticulously cut and polished, they still emit an effulgent luminosity like a diamond. YANG Zong-Jia has long used porcelain as his artistic medium—an inherently fragile and unpredictable substance, mirroring the very essence of vulnerable life. However, he believes that vulnerability in this contemporary era is not synonymous with timidity, as acknowledging vulnerability is also an expression of courage.

Beyond painstakingly hand-coiling the porcelain clay into exquisite forms, YANG Zong-Jia distinguishes himself from traditional fine china through adept experimentation with diverse visual effects achieved by overlaying different underglazes, slips, and overglazes onto the porcelain clay. For instance, the same glaze color can unexpectedly manifest variations in hues and disparate textures when applied onto different glaze foundations. Employing techniques such as hand-brushing and airbrushing further allows for nuanced control over glaze density and saturation, creating a multiplicity of appearances within a singular medium. Moreover, each glaze has different temperature tolerances, implying that one artwork must undergo a minimum of three to four firing cycles. Despite the time-consuming process, YANG eschews settling for a singular outcome, akin to life where compromise remains a choice yet can be embraced bravely to unfold different facets of grace. He utilizes his profound comprehension of the medium's characteristics, pushing the boundaries to uncover additional dimensions of artistic potential. With courage in the face of potential setbacks, the delicate "innocent children" porcelains undergo numerous exposures to varying temperatures, ultimately adorning themselves in unparalleled gorgeous garments. YANG embellishes each figure with delicate details—tiny stars, dots, and other adornments—that emanate a subtle yet captivating radiance when shimmering in the reflection of light. These detailed embellishments can be seen as YANG Zong-Jia's bestowal of a courageous insignia upon their fragilities.

In this exhibition, the work ‘Transforming Compact’ draws inspiration from two works named "Crystal" which are the novel “Crystal Boys” by a Chinese writer, Pai Hsien-yung, and the anime “Sailor Moon Crystal”, adapted from Japanese manga artist Naoko Takeuchi's manga. “Crystal Boys” portrays the marginalized position of the Chinese gay community in society, yet each boy, despite vulnerability, radiates an inherent brilliance like crystal. “Sailor Moon Crystal” subverts the traditional role of males as primary protectors, emphasizing that girls also possess resilient protective strength. Whether boys or girls expressing their crystalline essence, they all shine with their purest forms, akin to flawless crystal gemstones. The interpretation of love in both works is as untainted as unadulterated gemstones.

‘Transforming Compact’ is not crafted with the intent of treasuring the beauty of crystal gemstones, but rather amasses the purest essence, transforming into a force of metamorphosis. Vulnerability may cause wounds, but acknowledging vulnerability with bravery allows healing and forming new skin. Like the surface of works such as ‘Silver Erosion’ and ‘Black Butterfly’, they crystallize into rustic silver ore and profound black charcoal, respectively. Each gleams its own splendor, unveiling its beauty through a transparent innocence. With bowed heads, closed eyes, and softly pursed lips, a silent anticipation awaits the subtle recognition of their true visage.

REFERENCE

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