Xiao Xue's School

Eventually I asked Xiao Xue, "How do you go about getting the glaze to look the way it does?"
"God knows!" was her immediate reply.
I understood. This response came to define my relationship to the way in which I approached working with glazes: "I just do it. Then wait to see how it turns out..." That was what Xiao Xue meant with her answer, and so that's that how I have continued to work.
Serendipity is based on respect for craftsmanship and tradition. Whereas an experienced ceramicist achieves his or her intended result in a single firing, I take a chance. I stumble on, out into the unknown, firing and firing and firing again until I'm satisfied. As a rule, the result can never be considered a failure since I don't set out with a plan for what the "right" result might be. If anyone asks me about the glaze, why or how it looks the way it does, I simply answer, "It's Xiao Xue glaze...".

Text from the catalogue "... And so it was Night!", Museum of Movement, Stockholm Sweden 2016



The Black glaze

During my most recent sojourn in Jingdezhen in the spring and summer of 2015 my focus was firmly on black glaze. Not, however, because black is the most obvious expression of "night"; it was more a matter of satisfying my curiosity by working with a medium that others have been using for more than a thousand years. The passion I felt for working with black in this way opened up new avenues for me; I saw more, I saw a little further and in a little more depth. I discovered tradition through the new expressions that are being created today. I learned terms such as "tian mu", "temoku" and "jian yao". And in the black glaze I also saw the reflection of the greater world around me - all the things about which I need to form an opinion, all the things I need to take a stand for or against as part of the long process
of learning what it means to be human.

"... And so it was Night.!"

Text from the catalogue "... And so it was Night!", Museum of Movement, Stockholm Sweden 2016

2015年春夏季,我最近在景德镇的逗留期间,我的艺术焦点是黑釉。当然,这并非因为黑色是最直接的表现"夜晚"的颜色,而是因为我对这种一千多年来很多人一直采用的媒介饶有兴趣。黑色给我带来激情的同时也为我把新的门路打开:使我看见的东西更多,看得更加透彻和深远。通过使用今天演绎中的辞令,我发现了传统。我学到了新的词汇,如"天目"、 "建窑"。通过黑釉,我看到了身边更为广阔的世界映像:所有需要自己去理解并定义的事物,和做人的漫长旅程中需要学会支持和反对的一切。


Words of encouragement

Early on a Saturday morning I bump into Liu Xi by one of the little food stalls on Xinchangdonglu, the street outside the Sculpture Factory, Diaosu Ci Chang, in Jingdezhen. I tell her that I still haven't managed to get any of the black glazes to turn out exactly how I want them to, and she advises me to buy glaze from one of the other shops. When I explain that I've already done the rounds of all the shops, she merely shrugs her shoulders and says with cool indifference, what does it matter that she's been trained at CAFA, the Central Academy of Fine Arts in Beijing, or that she's been working with ceramics full-time for seven years; she still knows nothing.
Liu Xi intends her reply to be interpreted as words of encouragement.



• 月光下的恶作剧 - Pranks in The Moonlight - The exhibition at CAFA Art Museum 2017 FIND HERE

• The Prank-Project FIND HERE

ACTORS 2012—2013