Body and the everyday objects assemble without order, and sensation interweaves images with past events. Though I don’t usually remember the images of my favour objects, the impressions are always naturally memorised to bits. Without the support of language, these unconscious memory turns into a collection that is stored carefully in the memory casket in my mind. While creating my artworks, my mind goes through the collection and matching the suitable ideas somehow presenting a status of unawareness. However, I do reflectively think about my state of practice via the relaxing process and circumstances.
When one is too used to the view in front of one’s eyes, can s/he only recognise the view via looking or feeling? What the subject truly is while one identify the being through rational acknowledgment? If one shut down all the perceptions apart from the eyes and observe the texture of the artworks, one may see the lightness of papers and be confused and curious about the material. One will know that it is ceramic after touching or hearing the sound of the works collide. The identity of the material is confirmed after touching, and then another level of consciousness arrives. I concern about the issues of the relationship between body and clay, the difference between visually and awareness and also the transition of feeling in relation to the material of ceramic.
Painting clay, partly it is like ordinarily casual drawing on sketchbooks only with different tools. The texture is created by sharp items or fingers on the slap. It creates a different sensation from the fingertips that is not like writing on papers. When the fingertips press on the slip and it overflows to the traces, it feels like rubbing with body temperature.
Cutting clay, cutting the dried slaps, yet the action ‘cut’ doesn’t usually seen in ceramic technics. I cut the sheets of slap casually and make them into shapes like: square, rectangle, round, triangle and random forms spreading on the table. It feels like cutting paperboards, but the spreading of dust reminds me the existence of clay. It seems so easy while putting these shreds together, like using quick glue sticking paperboards without the anxious waiting.
Folding clay, use the method of folding, and it seems like very much the same with folding paper. Folding small slaps is just like folding paper when we were children. I casually turn and fold the slap in my hand. I repeat folding and opening, folding and opening it and lastly complete the shape with all the traces of line. On the other hand, folding large slaps feels more like folding fabric because the slaps become softer. I prefer the unexpected visual distinctions and moreover, the new effects and methods are also inspiring my thinking.
After folding the clay (paper) boxes, I put them in the fire, which burns the paper but left the perfect ‘paper boxes’.
2012 Hetero-perception Of Everyday, 107 Gallery, Taichung.
2011 The Meaning of Space With The Process of Analyzing, Tnnua Space, Tainan.
2010 shadow・shadow, Z space, Taichung.
2013 013(OOOXXX), Galerie Pierre, Taichung.
2012 Urge for Going, Z space, Taichung.
2012 Back Yart, Stock20, Taichung.
2012 A Gathering, Taichung Cultural & Creative Industries Park, Taichung.
2012 Ceramics in My House, Yingge Ceramics Museum, Yingge.
2012 Beyond the Words, Z space, Taichung.
2012 JOY Reading Public Art Festival, National Library of Public Information, Taichung.
2012 On a Journey, Z space, Taichung.
2010 See U Next 10, Taichung Cultural & Creative Industries Park, Taichung.
2010 NO. 66 Daci, Pingtung Art Museum, Pingtung.
2009 EAR SHOW, Sykes Gallery, Breidenstine Hall, USA.
2009 The Sixth Taipei Ceramics Awards 2009, Yingge Ceramics Museum.
2008 Exhibition of the newly Emerging Artists in Taiwan 3D Creation Series, Taichung County Seaport Art Center.
2008 NO. 66 Daci, The Pottery Workshop, Shanghai, Jingdezhen.
2008 The Crossing of Time and Environment Micro-Installation International Symposium, Tainan University of Technology.
EXHIBITIONS AT CRANE GALLERY