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Glaze plays adherent role in tradition ceramics. It’s because glaze cover the surface of clay body, and the formula of glaze makes clay body burn to curve line. According to different terrene factor, clay body appears different glory, color and quality overglaze. Glaze makes clay body become radiantly beautiful and clay body also makes glaze can be shown. Therefore, glaze will lost its performance stage if without clay body.
I try to break theirs relationship. I try to use heatproof and fire proof medium to fall into a pattern and let glaze blocks removed and then to show itself. My reason to give up traditional way to show the glory of glaze, and give up to use glassiness, which is successful to fall into a pattern by lower temperature, is I want to chase the ultimate and perfect aesthetic feeling in my mind. To achieve that aesthetic feeling of glaze by interlace with implicit and ebullient, lustrous and tenacious, extremely rationality and perceptual.
I started from the research of glaze block’s physics (material and technical) and spatial (adherent, connection, mixture, apposition, etc). My ultimate goal of it is to chase mental consolation. From the creative process of glaze blocks, I wish to analyze the course of my own life that was past away in order to find out the value of life. I started from the process of making bodiless to describe my homesickness, from the beautiful appearance of principal nature of glaze blocks to describe my strive in foreign country, from the dialogue between glaze blocks and extraordinary substance to seek my community life. I transform glaze blocks into my life. In the “scope” of community, I put in feldspar, gypsum, clay, wonderful color, my homesickness and the yearn of my mother, and then go into the process of high temperature burning. It just likes the struggle and hard training in life, it will become my own wonderful life.
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