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Title From, In, To Jingdezhen; Eight Experiences
Category plan [1001]
Place Dome House in CLAYARCH GIMHAE MUSEUM
Display Time 2017-09-09 ~ 2018-02-18
Telephone 055-340-7009
E-mail info@clayarch.org

2nd Main Exhibition of CLAYARCH GIMHAE MUSEUM 2017
From, In, To Jingdezhen; Eight Experiences


Period: 2017. 09. 09(SAT) ~ 2018. 02. 18(SUN)
Venue: Dome House in CLAYARCH GIMHAE MUSEUM
Scale: Approximately 60works of 9 International artists in ceramic tiles, ceramic sculpture, pottery and installation.
Curator: JAEWON LEE(Professor, Michigan State University/ Ceramist)
Artists: Lee Seunghee(Korea), Jin Zhenhua(China), Zhang Ming(China), Wang Jian(China), Felicity Aylieff(UK),
                 Takeshi Yasuda(Japan), Derek Au(USA), Thomas Schmidt+Jeffey Miller(USA)
Host: Gimhae City
Organizer: Clayarch Gimhae Museum


From, In, To Jingdezhen : Eight Experiences

- Guest Curator: Jaewon Lee(professor, Michigan State University/ Ceramist)
This exhibition gathers eight visions of nine artists (seven solo artists and two collaborators) who, either through accident or by destiny, encountered Jingdezhen, the traditional porcelain capital of China, then made the city to be center of their creative playground and workshop. Except Wang Jian, a Jingdezhen native, the ceramicists in this exhibition first visited Jingdezhen to investigate, then revisited to work time after time (Thomas Schmidt + Jeffrey Miller of Recycled China, from the US), some stayed long-term several times (Felicity Aylieff from the UK), or even moved there to make that unfamiliar territory their home (Derek Au from the US; Lee Seunghee from Korea; Takeshi Yasuda from the UK; Jin Zhenhua and Zhang Ming, from other parts of China).

In the industrial environment of Jingdezhen, where an outdated world still carries the 19th century ways of making ceramics, these artists have explored a sense of expedition and discovery with their own luggage of diverse backgrounds, artistic goals, habits, cultures, languages, philosophies, and traditions. The interconnection of mind, materials, and transformation at the heart of ceramic process can engage viewers with unique ceramic practices, issues of diversity, notions of community and dynamic change. Thus, something of hybrid consequence was yielded.

The works in this exhibition approach the notion of vessels variously. Yet each is remarkable for dealing with the notion of vessel directly, or questioning how certain considerations come to attain that subject matter. Wang Jian focuses on functional tea ware with extreme precision and yet with utter elegance while striving to create the total living space, the design for his interior dwelling, his study, exterior environment and garden to reveal his entire identity as untimely Oriental suggestive of the past couple centuries’ vocabulary. Felicity Aylieff‘s ambitious scale of large bottles (大瓶, daping) is a remarkable example of what can be done in Jingdezhen. Her use of enamel painting method (粉彩, Fencai)) is uniquely Jingdezhenian while she develops her own contemporary motif. Her daping is reminiscent of those 17th century Jingdezhen Export Ware to Europe, which demonstrated highly developed color palette and painted illustrations. Derek Au and Takeshi Yasuda sustain their commitment to function and wheel-throwing tradition, while pushing to venture into an expansion of utility. Both manifest the beauty and sensuous materiality of Jingdezhen porcelain and local Hutian, local glazes dates back to Song Dynasty, that are fired at extremely high temperature. Jin Zhenhua uses vessel as metaphor for sculptural thoughts and contemplative oeuvre. Her use of altered thrown forms illustrate the abstracted plant life. Lee Seunghee’s large scale tile work, which also displays what Jingdezhen artisans can produce, depicts the the historical pottery on his tile surface, rejecting and reassessing the subject/object paradigm entirely. His sculpture emulates bamboo directly from his indelible impression from the typical Chinese bamboo forests. Moreover, Thomas Schmidt + Jeffrey Miller of Recycled in China even bulldozed Jingdezhen factories’discarded commercial plates and bowls into small shards to bring back to longstanding conventions of tile making, but with molten aluminum that is also recycled. Zhang Ming’s sculpture has myriads of slip-cast multiples that make a typical genre of mountain and water(山水) landscape. Groupings of multiple parts contain ethereal matter conceptually rather than physically.
 
For these eight paradigms related to Jingdezhen, artists operate on an interchangeable mereology of human minds that can reach out far and wide. Artists in this exhibition are the ones I met in Jingdezhen or Beijing, in the period of 2009-2016 when I travelledto Beijing for my research and to Jingdezhen for studio practice of my own porcelain work. We started as outsiders, visitors, strangers to a foreign spot in the enormous world. Tomost of it, we remain unexposed and unknown. It is rare, but we can come across total strangers, who instantly become like an immediate part of our inner lives. These strangers become friends throughout the course of our journey in life; sometimes guiding from afar and floating in and out just as we need them.I am intrigued in what is manifested in their creative life of transforming Jingdezhen’s porcelain to unique, innovative, and extraordinary outcome of their own. These eight experiences are a synthesis of their artistic visions of simplicity, cultural manifestation, hybridization, and alchemic ambitions. 



▲ Derek Au


▲  Felicity Aylieff


▲ 
 Jin Zhenhua


▲  Lee Seunghee


▲  Thomas Schmidt + Jeffrey Miller


▲ 
 Takeshi Yasuda


▲  Wang Jian


▲  Zhang Ming

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