《星石》 《星石》作者：温美婷材质：天然漆、抹布、瓦灰、螺钿Asteriated Stones By WEN Meiting Materials: Natural lacquer, cleaning cloth, tile paint and mother-of-pearl inlay 本次的创作定位是日常器物。设计了各不相同、具有石头意趣的造型，作品从每一面看都不一样。器物的瓶口较大，可放置面积大的东西。外部装饰则运用了贴和撒螺钿的髹饰技法，表现出漆器的特有深邃感，通过打磨和抛光展现漆器本身蕴含的温润光泽。This creation is positioned at daily utensils. Interesting stone shapes of different sizes are created. The work looks different from different perspectives. The bottleneck of the utensil is large enough to hold some large objects. The external decorations employ the painting decoration techniques of pasting and mother-of-pearl inlaying. The lacquerware thus created looks profound. The polishing gives full expression to the luster of the lacquerware itself.
《胎》 《胎》作者：文森材质：漆Base By WEN Sen Materials: Lacquer 作品以漆器中极其复杂的脱胎手法为基础。第一个系列中选择筷子和竹勺为元素，它们来自中国乡村的传统厨房，以脱胎方式将其显示。第二个系列的肌理来自于厨房的泥土地面，是柴火做饭的传统厨房形式，凹凸不平的地面拓印出特殊而别致的纹理。中国、美食、筷子、饭勺、厨房地面、大漆作为灵感来源，于我这个在中国的法国人，好像没有联系，却充满故事。The work is based on the complex technique of making bodiless lacquerware. In the first series, chopsticks and bamboo spoons are adopted as elements. They both come from the traditional kitchen in Chinese villages. The technique of making bodiless lacquerware is adopted to represent the whole work. The texture of the second series originates from the mud land surface of the kitchen. It is a traditional kitchen for cooking with firewood. The rugged ground prints the special and exquisite texture. The second series gets its inspiration from “China, delicacies, chopsticks, spoons, kitchen ground and Chinese lacquer”. This seems to have nothing to do with me, a French living in China, but in fact many of my life stories are related to these elements.
《旋切木艺》 《旋切木艺》作者：吴时敏材质：木 Rotary-cutt Wood ArtBy Wu ShiminMaterials: Wood按常规旋切制作的器物造型是规整的，这既是其优势又是其局限。如何能突破规整？这是一种挑战。打破思维定势，改变对木头的夹持方式和切削方式，保留了更多木头原始自然结构和肌理，使作品更富于变化并获得更强烈的原始趣味和人情味，加强了作品的视觉与触觉美感。木头从材到器、从器到道，完成了从物质性到精神性的升华。Utensils made according to the conventional cutting technique are well structured. This can be an advantage or a disadvantage. How should these utensils make a breakthrough of their structure? This is a challenge. The renewal of the fixed thinking can change the mode of wood clamping and cutting, and retain the natural structure and texture of the wood. In this way, the work can be full of changes, and achieves more fun and human interest. The visual and touch aesthetics of the work can also be enhanced. From materials to utensils and from utensils to Tao, the wood finishes the sublimation from the material level to the spiritual level. |
《山海杯》
详情介绍 《山海杯》 作者：王立端 范易 何源源 张瀚文 白晓宇 陈梦秋 廖桦 任宇 李瀚然 材质：玻璃 陶 木 大漆 瓷 纸 金 银 铜 竹 砂 Mountain and Sea Cup By WANG Liduan, FAN Yi, HE Yuanyuan, ZHANG Hanwen, BAI Xiaoyu, CHEN Mengqiu, LIAO Hua, REN Yu and LI Haoran Materials: Glass, pottery, wood, Chinese lacquer, porcelain, paper, gold, silver, copper, bamboo and sand
“杯不在大，致力聚积山川江河湖海之灵气；形不在繁，专修精炼金木水火土之精华。”一个设计团体的集体参与，各式各样的材料构成，丰富精细的工艺，塑造出18个造型相似而简洁的“山海杯”。它们或朴实或清透或炫目的视觉效果仿佛一个五光十色的山海世界。同时如此这般的集体合作凝聚了团队的精神力量，活跃了团队的创作氛围。 “The cup is not cup, but it gathers the anima of mountains, rivers, lakes and oceans. The cup does not has a complex shape, but it refines the essence of fire, water, wood, gold and soil.” This work is an outcome of collective efforts. Various materials and refined process help shape 18 “Mountain and Sea Cups” with the similar and concise shape. They are either plain or transparent or dazzling. A colorful world of mountains and seas is thus created. The teamwork enlivens the creation atmosphere of the team, and inspires the spiritual force. 下一个： 《星石》 |
