《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.
《静直案几》 《静直案几》作者：谢垚 张庆材质：实木Quiet and Straight CaseBy XIE Yao and ZHANG Qing Materials: Solid wood 静直案几灵感来源于中国传统建筑的斗拱结构。斗拱之间有规律的交错形成了线的韵律节奏，不仅是形式上的美感，也是结构上的需要。简洁的 无曲线的形式 让静直案几在现代主意和中国传统中取得了一个平衡点。The inspiration comes from the system of brackets inserted between the top of a column and a crossbeam in the traditional Chinese buildings. The regular intersections between the system of brackets inserted between the top of a column and a crossbeam form linear rhythms. This is for the sake of not only form aesthetics, but also structural needs. The simplified non-curvilinear form seeks a balance for the quiet and straight cases between the modern creative ideas and the Chinese traditions.
《肌肤下的火焰》 《肌肤下的火焰》作者：尧波材质：陶Flame under the Skin By YAO Bo Materials: Pottery 泥浆-气球成型 使大地的 肌肤——泥土自行 向极限延伸，不断地生成各种形态。这种方式伴随着时间和气候的变化留下不同的渐变肌理，时而悠闲，时而紧迫。我所做的只是给这个生成提供一个它们相遇的条件，甚至我只是在这个奇妙生成之中游离、徘徊、惊讶！这种自行生成的形态在柴窑中经历火焰的洗礼，重生成器，转换为日常生活中的平常之物。The balloon-like mud allows the skin of the land, soil, to extend freely to the limit and generate different forms. The texture changes gradually, being sometimes loose and sometimes compact, along with changes of time and climate. I just create a condition for the meeting of the generation. To be more exact, I am just wondering and amazed about the magical generation. The self-formed shape undergoes the baptism of flames in the wood-fired kiln to form daily utensils. |
《胎》
详情介绍 《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. 上一个： 《星石》 |
