星图与航线 |2025 “景德镇大奖”跨界实验奖入围作品

星图与航线

陶溪川国际手工艺术美术馆开馆展

暨世界手工艺术“星图计划”启航展

Star Atlas & Voyage Routes Opening Exhibition of Taoxichuan International Craft Art Museum& Launch Exhibition of the World Craft Art Star Atlas Project

展期 | Duration

2025年10月17日——2026年4月16日

October 17, 2025-April 16, 2026

地点 | Venue

陶溪川国际手工艺术美术馆

Taoxichuan International Craft Art Museum

展览前言

Exhibition Foreword

“星图与航线 | Star Atlas & Voyage Routes”是由陶溪川文创街区与中国美术学院共建的“陶溪川国际手工艺术美术馆”（Taoxichuan International Craft Art Museum）的开馆首展，也是未来数年将持续发生的“世界手工艺术星图计划”（World Craft Art Star Atlas Project）的启航展。

展览汇聚了来自首届“景德镇大奖”（Jingdezhen Prize）入围艺术家的数十件/组精彩手工艺术作品，该奖项由世界手工艺理事会（WCC）、国际陶艺学会（IAC）与景德镇创意设计中心联合发起，共征集了来自全球六大洲55个国家及地区的投稿作品1325件，由19位专家学者组成甄选委员会，通过匿名评审遴选出41位入围者。

在这幅手工艺术的星图上，景德镇是一颗由泥与火锻造的恒星——它从上古冶陶的光焰中亮起，穿梭白瓷、影青瓷、青花瓷的流光，抵达古典器物美学的巅峰，也成为了全球手工艺术的灵感汇聚点。作为“世界手工艺术星图计划”的启航之站，本次展览从景德镇·陶溪川的土地上出发，尝试描绘星图上遥相呼应的光点，共同勾勒出人类手艺的轮廓——这便是“星图与航线 | Star Atlas & Voyage Routes”所期待探访的时空图景。

景德镇大奖:跨界实验奖

入围作品

“Jingdezhen Prize” Shortlisted Works

Recipients of the Cross - border Experimentation Award

跨界实验奖以跨学科融合、壁垒突破等为核心导向，聚焦突破陶瓷工艺传统边界的创作。面向全球艺术家、设计师等及跨学科团队，要求作品以陶瓷为核心进行跨界创新。评选侧重跨界突破性与陶瓷独特美学特质的统一。

作品：《Signa》

作者: Bruce Dehnert

材质：陶瓷

布鲁斯·德纳特是一位艺术家、窑匠和作家。他拥有蒙大拿大学创意写作学士学位和阿尔弗雷德大学艺术硕士学位。他的作品被收藏在道斯博物馆（新西兰）、宜兴和醴陵博物馆（中国）、亚历克斯酒吧和荣耀洞（阿尔弗雷德）以及华盛顿特区的白宫。Dehnert为众多出版物撰稿，包括《陶瓷月刊》、《陶瓷：艺术与感知》、《波特工作室》和《金属匠》。他的书《Simon Leach:A Pottery Handbook》是畅销书，他是国际陶瓷学会（UNESCO）的成员。他目前是彼得斯谷工艺学院陶瓷系主任。

Bruce Dehnert is an artist, kiln builder, and writer. He received his BA in Creative Writing from the University of Montana, and MFA from Alfred University. His work is in collections including The Dowse Museum [New Zealand], the Yixing and Liling Museums [China], Alex’s Bar and The Glory Hole [Alfred], and the White House in Washington, DC. Dehnert has written for numerous publications including Ceramics Monthly, Ceramics: Art and Perception, Studio Potter, and Metalsmith. His book, Simon Leach: A Pottery Handbook was a best seller, and he is a member of the International Academy of Ceramics [UNESCO]. He is currently Head of Ceramics at Peters Valley School of Craft.

我成长于美国西部的怀俄明州。19世纪末，据估计整个美洲大陆上有4000万头野牛自由迁徙；而到了20世纪初，经过多年的猎杀，其数量已不足5000头。如今，野牛数量虽已恢复至约40万头，但它们濒临灭绝的经历，为我们揭示了人类与自然世界相处的重要启示与教训。

我借鉴了父亲建筑设计中的结构元素，以此呈现野牛的原生家园——北美大平原的地貌。我乐于将自然景观视作一种“建筑”，着迷于自然界中那份兼具秩序、混沌与变迁的“构造逻辑”。

作品中对野牛腿部的刻画，意在暗示这些曾经庞大的族群逐渐丧失在广袤平原上自由迁徙的能力。野牛曾是自由与力量的象征，而人类作为自然的守护者，与自然界的相处方式，往往深刻影响着我们共同的精神世界。我的创作旨在通过叙事的张力，展现这些复杂的关联。

《Signa》这件作品以粗陶为材质，部分区域施有厚层金红石与木灰釉，在柴窑中历经6天烧制而成。

I grew up in the American West in the State of Wyoming. In the late 1800s there were estimated to be 40 million buffalo that ranged throughout the continent. By the early 20th century, fewer than 5,000 existed after years of slaughter. While the animal has recovered to perhaps 400,000, their demise provides an important story and lesson about how we humans interact with our natural world.

I employ architectural motifs from my father's architecture to represent the landscape of the Great Plains, where the buffalo are indigenous. Imagining landscapes as forms of architecture, I am interested in the architecture of Nature, where there is order, chaos, and change.

The animal's legs are only referenced in order to express something about the declining ability of these once large herds to migrate freely throughout the vast Plains. The buffalo represented freedom and strength. In many ways, our collective and shared psychologies can be deeply affected by how we relate to the natural world of which we are stewards. It is my intention to represent these relationships through the dynamics of narrative. "Signa" is constructed using stoneware, partially glazed with a thick coat of a rutile and wood ash glaze, and was fired in a wood kiln for six days.

作品：《都是凭空捏造》

All Fabricated from Nothing

作者: 陈英泽

材质：陶瓷，银

陈英泽，1990年8月出生在中国福建漳州，2013年毕业于南京艺术学院首饰设计与金属工艺专业，「南作器NANZUOKI」品牌主理人，现居景德镇从事设计与艺术创作。 从小学习绘画的陈英泽2009年入学南艺，受出生地源环境影响，传统美学与宗教文化滋养了他的精神世界，时代的开放性则为他创造了更多的学习机会。 不拘泥于传统，接纳并欣赏其他文明，拟银为纸，锤为笔，用传统手工艺表达当代艺术，一敲已是十余年光阴。

Chen Yingze, born in Zhangzhou, Fujian, China in August 1990, graduated from Nanjing University of Arts with a major in Jewelry Design and Metal Crafts in 2013. He is the brand manager of "Nanzuo NANZUOKI" and currently resides in Jingdezhen, engaged in design and artistic creation. Chen Yingze, who has been studying painting since childhood, enrolled in Nanyi in 2009. Influenced by his birthplace, traditional aesthetics and religious culture have nourished his spiritual world, while the openness of the times has created more learning opportunities for him. Not confined to tradition, accepting and appreciating other civilizations, using silver as paper and hammer as pen, expressing contemporary art through traditional handicrafts, it has been more than ten years since one strike.

金工艺人驻足景德镇十年，因观察到手艺人对材料的了解与工艺的分寸有感而作。纯银锻造的成瓶藏入手工拉坯成形的泥坯里，利用陶瓷干燥和烧成过程的收缩特性，泥坯素烧温度为800℃，银的熔点为960℃。两种材料的温度差令泥坯在素烧过程中逐渐被藏在其中的银瓶撑裂，而银瓶可依然保持原有造型，互动出独有的“有见一叶落…睹瓶中之冰…”之色调感。观拉坯后停留于泥上的指纹隐约间见银瓶上锤痕点点，有如“不识庐山真面目，只缘身在此山中”的大小虚实之感。

Metalworking artists have been in Jingdezhen for ten years, and they have made their work because they have observed the artists' understanding of materials and their sense of craftsmanship. The pure silver forged bottle is hidden in the manually formed clay, utilizing the shrinkage characteristics of ceramic drying and firing processes. The clay is fired at a temperature of 800 ℃, and the melting point of silver is 960 ℃. The temperature difference between the two materials causes the clay to gradually crack due to the silver bottle hidden inside during the firing process, while the silver bottle can still maintain its original shape, creating a unique color tone of "seeing a leaf fall... seeing the ice in the bottle...". After observing the raw materials, the fingerprints lingering on the mud vaguely revealed hammer marks on the silver bottle, giving a sense of size and reality as if "I don't know the true face of Mount Lu, only because I am in this mountain".

作品：《城市-山水-乌托邦》

City-Landscape-Utopia

作者: 蒋颜泽

材质：蜂窝陶瓷废料，陶土，釉，金属丝

蒋颜泽，本名蒋炎，东南大学建筑学院教授。中国美术家协会第四届陶瓷艺术委员会委员、国际陶艺协会（IAC）会员。作品多次入选全国美展、韩国国际陶艺双年展、台湾国际陶艺双年展、日本美浓陶艺三年展以及第60届意大利法恩扎陶艺双年展（邀请展）等多项重要展览。作品被英国 V&A 博物馆、斯托克陶瓷博物馆、韩国利川陶瓷博物馆、台湾莺歌陶瓷博物馆等艺术机构收藏。

Jiang Yanze is a professor at the School of Architecture, Southeast University. She is a member of IAC and a committee member of the Ceramic Art Committee of the China Artists Association. Her works have been selected for numerous important exhibitions, such as national art exhibitions, Korea International Ceramic Biennale, Taiwan International Ceramic Biennale, Japan Mino Ceramic Triennale, and the 60th Faenza International Ceramic Biennale (invitation exhibition). Her works are collected by art institutions such as the V&A Museum in the UK, the Stoke-on-Trent Ceramic Museum, Icheon Ceramic Museum in South Korea, and the Yingge Ceramic Museum in Taiwan etc..

蜂窝陶瓷是一种内部结构似蜂窝形状的科技陶瓷产品，主要用于工业净化领域，其断面展示了一种理性的几何之美。作品以蜂窝陶瓷废料为原材料，用解构、拼贴的手法制作完成：“城市”部分由蜂窝陶瓷截面切片建构，展现了发展中的都市景象；“山水”部分，由未被烧结的半成品加工而成，再现自然山水之境。

“城市”与“山水”的并置，并非简单对比，而指向一个核心追问：我们为构筑理想化的现代“乌托邦”（高效、洁净、有序的都市），究竟付出了何种不可见的代价?废弃的产品不仅是材料，更是意义生成的主体。蜂窝陶瓷的工业净化之功能与其生产过程的污染排放之代价，构成关于城市“建造”与山水“消逝”的隐喻，诉说着被遮蔽的代价，引发观者直面“乌托邦”的真实重量。

Honeycomb ceramics are technological ceramic products with internal structures resembling honeycomb shapes, primarily used in industrial purification fields, with cross-sections that display a rational geometric beauty.

This work uses honeycomb ceramic waste as raw material, completed through deconstructive and collage techniques: the "City" section is constructed from cross-sectional slices of honeycomb ceramics, presenting the landscape of developing urban areas; the "Landscape" section is processed from unfired semi-finished products, recreating the realm of natural mountains and waters.

The juxtaposition of "City" and "Landscape" is not a simple comparison, but points to a core inquiry: what invisible costs have we paid to construct an idealized modern "Utopia" (efficient, clean, orderly cities)? The discarded products are not merely materials, but subjects of meaning generation.The functional industrial purification of honeycomb ceramics and the pollution emission costs of their production process constitute a metaphor about urban "construction" and landscape "disappearance," narrating the concealed costs and prompting viewers to confront the true weight of "Utopia."

作品：《日常的泡沫》

The Foam of the Days

作者: Katia Terpigoreva

材质：利摩日瓷，丝光棉线，不锈钢肉钩

卡蒂亚·特皮戈雷娃（Katia Terpigoreva），视觉艺术家，设计和建筑评论家，2010年我搬到阿维隆，在那里我开始练习我的艺术。

我设计了精致、沉思的体量和浮雕，灵感来自原始文明的艺术、极简主义的美学和当代建筑创作。有时，我也倾向于幻想和激进的几何结构，以20世纪60年代意大利反设计的精神，我特别喜欢。

我使用不同的材料-织物、瓷器、石器、羊毛、水泥、碳化木材等。-因为在我的艺术研究中，正是这些丰富而真实的纹理激发了我的想象力和创造力。我的每一件雕塑作品的戏剧性总是参与形式、纹理、明暗对比和图形元素之间的和谐和感官平衡。

“艺术家创作、引导和引导自己，用手陪伴材料和纹理。它既不强迫也不扭曲。他对创作的渴望结合了他对人类起源、当代艺术文化、自然品味和沉思的知识。每一件雕塑都有一个故事，一个特殊的灵感来源，从美索不达米亚的宗教建筑到风景和寂静的氛围……“触及主题”。……这些系列反映了一种微妙的女性内省，一种与无限世界相连的美丽方式，同时保持专注，并对使生命珍贵的小细节感到惊讶。”

Katia Terpigoreva, Plastician, design and architecture critic, I moved to Aveyron in 2010, where I began to practice my art profession.

I design pure and contemplative volumes and reliefs, which draw inspiration from the art of primitive civilizations, the aesthetics of minimalism and contemporary architectural creation. Sometimes I also prefer fantastic and radical geometries in the spirit of Italian anti-design of the 1960s, which I particularly like. In other words, it's the same.

I work with different materials - fabric, porcelain, sandstone, wool, cement, charcoal wood etc. - because in my artistic research, it is these opulent and authentic textures that galvanize my imagination and creativity. And the dramaturgy of each of my sculptural works always participates in the harmony and sensual balance that are established between form, texture, the play of light-dark and graphic elements.

“The artist composes, guides and lets himself be guided by accompanying materials and textures with his hands. It does not force or twist. His desire to create combines his knowledge of the origins of humanity, his culture of contemporary art, his taste for nature and contemplation. Each sculpture has a story, a particular source of inspiration, from Mesopotamian religious buildings to landscapes and atmospheres of silence… “to touch the subject”. “These series reflect a subtle feminine introspection, this beautiful way of being connected to the world in its infinity, while remaining attentive and amazed at the little details that make life precious.” In other words, it's the same.

《日常的泡沫》捕捉存在之瞬息：情绪、感受、思绪与稍纵即逝的记忆，皆如泡沫，从指缝滑落，又汇成雨滴、沙粒或海浪浮沫。作品以近乎透明的瓷质微粒与手编丝光棉线交织成悬垂结构。每颗瓷粒（约4-4.5cm高×1.5-2cm宽）皆为极轻薄壁单体，采用“羊毛裹瓷”技法制成：将粗梳羊毛浸入液态瓷浆，黏土自然聚于纤维末梢，形成纤细茧状薄膜。经修整后，以1260℃电窑烧成，仅余瓷壳，质地似枯叶，将瓷的纤巧与透光性推向极致。随后，这些微粒被编入轻盈的棉线网络，几乎消解自身重量，化作可伸缩、近乎无形的柔软体。这一空中组构与实验瓷技皆以最低能耗完成，最终仅留可降解痕迹，重新定义材料边界，承载短暂与永续的双重命题。

The Foam of the Days captures the ephemeral nature of existence. Like foam, our emotions, feelings, thoughts, and fleeting memories slip through our grasp, accumulating like raindrops, grains of sand, or air bubbles in sea foam.

This suspended structure comprises translucent porcelain grains, delicately interwoven with hand-knitted mercerized cotton thread. Each porcelain grain (approximately 4–4.5 cm H × 1.5–2 cm W) is an ultralight, thin-walled piece crafted individually using a wool-embalmed porcelain technique. By dipping thick strands of carded wool into liquid porcelain, clay naturally gathers at the tips, forming slender, cocoon-like membranes. After post-finishing and firing at 1260°C in an electric kiln, only the delicate clay remains, its texture evoking a dried leaf, pushing the boundaries of porcelain's finesse and luminosity.

These grains are then interlaced with an airy, knitted cotton cord, further dematerializing their minimal weight into a flexible, extendable, almost ethereal form. This innovative aerial assembly, alongside the experimental porcelain technique, prioritizes minimal resource consumption, leaving only biodegradable traces. The work redefines material limits, embodying transience and sustainability.

作品：《存在与离开》

Existence and Departure

作者: 李雨花

材质：陶

李雨花（1973年—），江苏海安人，中国陶瓷艺术家。 1996年毕业于南京艺术学院工艺美术系陶瓷与艺术设计专业获学士学位，2002年获景德镇陶瓷学院雕塑专业硕士学位。 现任南京艺术学院设计学院教授、博士生导师，兼任江苏高淳陶瓷股份有限公司特聘设计师。

Li Yuhua (1973-), born in Hai'an, Jiangsu, is a Chinese ceramic artist. I graduated with a Bachelor's degree in Ceramics and Art Design from the Department of Arts and Crafts at Nanjing University of the Arts in 1996, and obtained a Master's degree in Sculpture from Jingdezhen Ceramic Institute in 2002. Currently a professor and doctoral supervisor at the School of Design, Nanjing University of the Arts, and also a specially appointed designer at Jiangsu Gaochun Ceramics Co., Ltd.

公元79年，火山喷发毁灭了庞贝古城，其中生活的人们在刹那间被火山灰掩埋。2000年的时间里，人体腐烂消失，在火山灰中留下了空洞的人形空间，后人将石膏注入这些空间，逝者面对灾难的挣扎和恐惧穿越千年呈现在我们面前。物质不灭，只会从一种形式转化为另一种形式。本作品在黏土中加入了固化材料，使其在成型阶段几乎没有收缩率，因此可以直接浇筑进低熔点的材料，比如泡沫。《存在与离开》系列是将很多生活中的物件压到泡沫里再取出，然后往泡沫里灌注陶泥。泡沫被烧掉之后留下了陶瓷部分。

In 79 CE, a volcanic eruption destroyed the ancient city of Pompeii, and the people living there were instantly buried by volcanic ash. Over 2,000 years, the human bodies decayed and disappeared, leaving hollow human-shaped spaces in the volcanic ash. Later generations injected plaster into these spaces, and the struggle and fear of the deceased facing disaster was presented before us across millennia.

Matter is indestructible; it only transforms from one form to another. This work adds hardening materials to clay, making it have almost no shrinkage rate during the forming stage, thus allowing direct casting into low-melting-point materials such as foam.

The "Existence and Departure" series involves pressing many objects from daily life into foam, removing them, then pouring clay slip into the foam. After the foam is burned away, only the ceramic parts remain.

作品：《言外之物》

Things beyond Words

作者: 刘叶宁

材质：陶瓷，电机

刘叶宁，2003年生于山东，本科毕业于中央美术学院视觉传达专业，现于中央美术学院视觉传达专业攻读研究生学位。其作品曾入选国家大剧院优秀动画展览、文字诗学展览，2025年获景德镇大奖跨界实验奖。作为一名关注物质、声音与语言交叉地带的视觉艺术家，她以材料研究为方法，擅长将日常器物从固有使用场景中抽离并置于陌生化艺术语境，通过陶瓷、影像、表演等跨媒介实践，解构重组平凡事物的象征意义与感知维度，构建兼具视觉张力与思想深度的哲思现场，长期致力于突破视觉传达领域的既定符号系统，探索非线性、多维度的叙事可能，推动传统视觉设计与当代艺术理念的跨界融合。

Liu Yening, born in Shandong in 2003, graduated with a bachelor's degree in Visual Communication from the Central Academy of Fine Arts. She is currently pursuing a graduate degree in Visual Communication at the Central Academy of Fine Arts. His works have been selected for the National Centre for the Performing Arts Excellent Animation Exhibition and the Literary Poetry Exhibition, and won the Jingdezhen Grand Prize Cross border Experimental Award in 2025. As a visual artist who focuses on the intersection of matter, sound, and language, she uses material research as a method to extract everyday objects from their inherent usage scenarios and place them in unfamiliar artistic contexts. Through cross media practices such as ceramics, images, and performances, she deconstructs and reorganizes the symbolic meaning and perceptual dimensions of ordinary things, constructs a philosophical scene that combines visual tension and ideological depth, and is committed to breaking through the established symbol system in the field of visual communication, exploring non-linear and multi-dimensional narrative possibilities, and promoting the cross-border integration of traditional visual design and contemporary art concepts.

我的作品起始于一个问题：如果不依赖语言，我们如何表达自己?如果我们放弃说话，是否还能被理解？我将这个问题转化为一场关于声音、语言与物质性的非语言叙事实验，也像是一个孩子刚刚开始认识世界的方式，当我们还不会说话，就已经在用身体、声音、物品传达情绪与意图。我选择了陶瓷作为核心材料，进行了一场关于声音、语言、物质性的实验。我制作了26件独特的陶瓷物品，构成了一套“非语言字母表”。每个物品被赋予了一种独特的声音、一种可能的行为（比如滚动、碰撞、摩擦），或者一种触感或视觉引发的隐喻联想。此时的字母不再代表语言符号，而是化作声音与感知之间的一种“发生”。观众可以通过图像、声音和互动去“猜测”这些物品背后的意义，从而参与到一场关于语言的游戏中。

我之所以选择陶瓷材料，是因为陶瓷提供了独一无二的实验场域。它的可塑性让我能精准复制日常物品的形态，但其烧制后的坚硬、易碎、共鸣等物理特性又彻底颠覆了原物品的声音和触感。它和日常物品之间有一种奇妙的声音错位：原本柔软的刷子、轻盈的气泡膜、在变成陶瓷后发出不属于它们的声音。陶瓷让物品失声也让他们重新发声，这是对日常语言的结构，也是一种在材料层面的重新书写。陶瓷的“窑变”不只是釉色的变化，更是声音和意义的“窑变”。我利用多种特性的泥料进行实验，通过控制泥料的厚薄、表面的肌理处理（光滑、粗糙、开片）、甚至尝试在坯体中加入少量如细沙、小颗粒等其他材料来微妙地影响最终烧成后物品发出的声音品质。 作品由三部分构成：第一部分是一段声音影像，通过表演探索物品如何在非语言状态进行沟通叙事；第二部分是通过书籍记录物品创作的全过程；第三部分是互动装置，我用电机让静止的陶瓷物动起来，模糊语言、物件与行为之间的界限。

《言外之物》不是为了讲清楚什么，而是邀请你靠近、去聆听陶瓷的“新语言”，去感受物质本身所携带的表达潜力，并在互动中共同探索沟通的另一种可能——在“言外”之处。对我而言，视觉传达的边界由此拓宽，它不仅是图像的转换，更是在那些“难以言说”的领域里，寻找新的连接方式。

My work begins with a question: How can we express ourselves without relying on language? If we give up speaking, can we still be understood? I have transformed this question into a nonverbal narrative experiment about sound, language, and materiality, similar to a child's way of understanding the world. Even before we can speak, we are already using our bodies, sounds, and objects to convey emotions and intentions. I chose ceramics as the core material and conducted an experiment on sound, language, and materiality. I have created 26 unique ceramic items, forming a set of 'non-verbal alphabet'. Each item is endowed with a unique sound, a possible behavior (such as rolling, colliding, rubbing), or a tactile or visually evoked metaphorical association. At this point, the letters no longer represent linguistic symbols, but rather transform into a 'happening' between sound and perception. Viewers can "guess" the meaning behind these items through images, sounds, and interactions, thus participating in a game about language.

I chose ceramic materials because they provide a unique experimental field. Its plasticity allows me to accurately replicate the form of everyday objects, but its physical properties such as hardness, fragility, and resonance after firing completely subvert the sound and touch of the original objects. There is a wonderful sound mismatch between it and everyday objects: the originally soft brush, the light bubble film, and the sound that does not belong to them after turning into ceramics. Ceramics make objects lose their sound and also allow them to regain their voice, which is the structure of everyday language and a rewriting at the material level. The "kiln transformation" of ceramics is not only a change in glaze color, but also a "kiln transformation" of sound and meaning. I conducted experiments using various characteristics of clay materials, by controlling the thickness of the clay material, surface texture treatment (smooth, rough, open), and even trying to add small amounts of other materials such as fine sand, small particles, etc. to the body to subtly affect the sound quality of the final fired object.

The work consists of three parts: the first part is a sound and image that explores how objects communicate and narrate in a non-verbal state through performance; The second part is to record the entire process of item creation through books; The third part is an interactive device, where I use a motor to make a stationary ceramic object move, blurring the boundaries between language, objects, and behavior.

The Book of Things Beyond Words is not meant to clarify anything, but to invite you to approach and listen to the "new language" of ceramics, to feel the expressive potential carried by the material itself, and to explore another possibility of communication through interaction - in the realm of "beyond words". For me, the boundaries of visual communication are widened as a result. It is not only about transforming images, but also about finding new ways of connection in those "unspeakable" fields.

作品：《持续的刹那》

Continuous Moment

作者: 马瑜蔚

材质：陶瓷，玻璃

马瑜蔚是一位深耕陶瓷艺术的新锐创作者，现就读于日本京都市立艺术大学陶艺系博士研究生阶段。她拥有多元且扎实的学术背景，2019 年本科毕业于清华大学美术学院陶瓷艺术与设计系，后赴英国皇家艺术学院陶瓷与玻璃艺术系交换学习，2022 年获日本京都市立艺术大学陶艺系硕士学位。

创作中，她以花卉为核心灵感，将传统陶艺成型与现代石膏成型工艺相结合，精准呈现瓷土温润如玉的材质特质。其代表作《玫瑰开出爱情的样子》，通过重复雕琢的花瓣纹理，探寻生命与情感的具象表达，兼具浪漫诗意与手工温度。

她的艺术实践融合中、英、日三国艺术视野，作品曾参与多地艺术活动与联展，在传统工艺当代转化领域展现出独特的创作潜力。

Ma Yuwei is a rising star in the field of ceramic art, currently pursuing a doctoral degree in Ceramics at Kyoto City University of the Arts in Japan. She has a diverse and solid academic background. She graduated from the Ceramic Art and Design Department of the Academy of Fine Arts at Tsinghua University with a bachelor's degree in 2019, and later went to the Ceramic and Glass Art Department of the Royal Academy of Arts in the UK for exchange studies. In 2022, she obtained a master's degree in Ceramics from Kyoto City University of the Arts in Japan.

In her creation, she takes flowers as the core inspiration and combines traditional ceramic molding with modern gypsum molding techniques to accurately present the warm and jade like material characteristics of porcelain clay. His representative work 'The Rose Blooms in Love' explores the concrete expression of life and emotions through the repeated carving of petal textures, combining romantic poetry with handmade warmth.

Her artistic practice integrates the artistic perspectives of China, Britain, and Japan. Her works have participated in various art activities and joint exhibitions in different regions, demonstrating unique creative potential in the field of contemporary transformation of traditional crafts.

以81只釉色渐变、肌理各异的陶瓷杯与一只可游移其间的透明玻璃器，构成一个关于“观看”与“时间”的感知实验。借“刹那灭论”之思，作品指向存在的瞬时性与知觉的非连续性——我们所见之物，是否在被注视的当下便已消逝?在虹彩光谱的缓慢游移中，透明不再是澄明的象征，而是一种被折射、被误读的视觉幻象。观者手中可动的透明玻璃杯，映照的不只是陶瓷器表的色彩，更是意识在流动之中的层叠痕迹。真实与虚构交错浮现，如同凝视水面之波光，观看在此成为一种生成性的视觉实践，使我们得以在物与时、光与触之间，经验那原初而脆弱的“刹那”。

A perception experiment about "viewing" and "time" is conducted using 81 ceramic cups with varying glaze colors and textures, and a transparent glassware that can be moved between them. Using the concept of "instant extinction theory", the work points to the transience of existence and the discontinuity of perception - whether what we see has already disappeared in the moment we are being watched? In the slow movement of rainbow spectra, transparency is no longer a symbol of clarity, but a visual illusion that is refracted and misread. The transparent glass cup in the viewer's hand reflects not only the color of the ceramic surface, but also the layered traces of consciousness in the flow. Reality and fiction intertwine and emerge, like gazing at the waves of light on the water's surface. Watching here becomes a generative visual practice, allowing us to experience the original and fragile "moment" between objects and time, light and touch.

作品：《印契》

Seal

作者: Ryan Mitchell 煤球

材质：陶瓷，陶，釉料

Ryan Matthew Mitchell 1978 年出生于美国科罗拉多州丹佛市 ,2005年毕业于 美国蒙大拿大学取得美术学硕士学位，系联合国教科文组织陶艺学会 (IAC)会员, 创建陶溪川景德镇国际工作室兼前艺术总监，现任职于景德镇陶瓷大学国际学院国际工作室。并曾在澳大利亚国立大学,明尼苏达州的明尼阿波利斯北部粘土中心, 巴厘岛乌布的加耶陶瓷设计中心,中国富平陶艺村,深圳大望文化高地,美国俄勒冈州的 LH 项目,米苏拉粘土工作室,蒙大拿州的红屋粘土中心等地驻地创作。

Ryan Matthew Mitchell was born in Denver, Colorado, USA in 1978. He graduated with a Master's degree in Fine Arts from the University of Montana in 2005 and is a member of the UNESCO Ceramic Society (IAC). He founded the Taoxichuan Jingdezhen International Studio and served as the former Artistic Director. He currently works at the International Studio of the International College of Jingdezhen Ceramic University. And have worked as resident artists at Australian National University, Minneapolis Northern Clay Center in Minnesota, Gaya Ceramic Design Center in Ubud, Bali, Fuping Ceramic Village in China, Dawang Cultural Highland in Shenzhen, LH Project in Oregon, Missoula Clay Studio, and Red House Clay Center in Montana.

《印契》体现了转化、旅程与共同意义的发现。两颗头颅自同一块泥土中升起——并非复制品，而是彼此牵引的两个独立形态。作品由瓷与陶混合制作，凝聚着对立之间的张力：柔软与压迫，温度与冷峻，记忆与显现。淡粉色的釉流在裂隙间缓缓渗出，为冷峻如骨的肌理带来一丝温柔与共情。“印契”所指并非法律意义上的契约，而是一种更微妙的联结：在接触中生成的印记，在相遇中达成的默契。这件作品回溯甲骨的逻辑—一不再是用于占卜未来的工具，而是记录时光、关系与触觉如何共同雕刻出意义的载体。表面的痕迹不是对命运的预言，而是彼此亲密交汇所留下的见证。

本作重释了“道”的审美，不再遥远静谧，而是化为一种身体的自然生成(自然)。他的陶瓷语言成为自我与他者之间的物质协商，是脆弱与坚韧之间的共存。《印契》不是一种解决，而是一种记录——一段关于共处的痕迹，其中的意义不是被给出的，而是在共同之中被发现的。

Seal embodies the discovery of transformation, journey, and shared meaning. Two heads rise from the same piece of soil - not replicas, but two independent forms pulled together. The work is made by mixing porcelain and pottery, embodying the tension between opposites: softness and oppression, temperature and coldness, memory and manifestation. The light pink glaze slowly seeps out between the cracks, bringing a touch of tenderness and empathy to the cold and bone like texture. The term 'seal' does not refer to a legal contract, but rather a more subtle connection: the imprint generated in contact, the tacit understanding reached in encounter. This work traces the logic behind oracle bones - firstly, it is no longer a tool for divination of the future, but a carrier for recording how time, relationships, and touch work together to carve meaning. The surface traces are not prophecies of fate, but witnesses left by intimate interactions between each other.

This work reinterprets the aesthetic of "Dao", no longer distant and tranquil, but transformed into a natural generation of the body (nature). His ceramic language becomes a material negotiation between self and others, a coexistence between fragility and resilience. The Seal is not a solution, but a record - a trace of coexistence, the meaning of which is not given, but discovered in the common.

作品：《一层尘-沁》

Layer of Dust - Permeation

作者: 孙月

材质：陶瓷（龙泉瓷土，玉泥），墨，宣纸

孙月，1989年出生于北京，现任清华大学美术学院陶瓷艺术设计系助理教授。 2008年至2012年就读于清华大学美术学院陶瓷艺术设计专业本科，2013年赴德国不来梅艺术学院攻读自由艺术陶瓷方向硕士学位，2017年完成该校大师班课程。 主要承担《陶瓷装饰基础》《陶瓷艺术 (1)》等课程教学，研究方向聚焦陶瓷材料在不同自然状态下的感知表达，提出“让时间可视，让消亡永存”创作理念。

Sun Yue, born in Beijing in 1989, is currently an assistant professor in the Department of Ceramic Art and Design at the Academy of Fine Arts, Tsinghua University. I studied for my undergraduate degree in Ceramic Art Design at the Academy of Fine Arts, Tsinghua University from 2008 to 2012. In 2013, I pursued a master's degree in Free Art Ceramics at the Bremen Academy of Fine Arts in Germany. In 2017, I completed the master's program at the same university. Mainly responsible for teaching courses such as "Fundamentals of Ceramic Decoration" and "Ceramic Art (1)", the research direction focuses on the perceptual expression of ceramic materials in different natural states, and proposes the creative concept of "making time visible and letting extinction last forever".

《一层尘-沁》是作者2025年的全新作品。艺术家每日十二个小时枯坐在工作台前，通过模仿自然界泥土沉积的过程，用瓷泥浆纪录自己的时间。沉积堆叠切片中的每一毫米都是自己时间的印记。作者常年关注非线性时间，概念界限与世界认知的主题，专注尝试用传统的陶瓷材料的或“泥土”、或“岩石”、或“尘埃”的不同自然状态，作品尝试运用陶瓷这一传统材料的不同形态，竭力从不同的角度切入，试图冷静的、不带感情色彩的模糊现实与虚拟的边界，探讨概念的形成与认知过程，创造出新的感知体验。

A Layer of Dust—Permeation is my latest work from 2025. The artist sits motionlessly at the work table for twelve hours daily, recording their own time through porcelain slip by imitating the process of natural soil sedimentation. Every millimeter in the sedimentary stacked sections bears the imprint of their own time.

The author has long focused on themes of non-linear time, conceptual boundaries, and world cognition, concentrating on experimenting with different natural states of traditional ceramic materials—whether as "mud," "rock," or "dust." The work attempts to use various forms of ceramics, this traditional material, striving to approach from different angles, trying to calmly and dispassionately blur the boundaries between reality and virtuality, exploring the formation of concepts and cognitive processes, and creating new perceptual experiences.

作品：《遗留之物》

WHAT REMAINS

作者: Verónica Moar

材质：海藻酸钠薄膜，瓷粒，釉料与金饰，部分釉面瓷板及金饰，实验室玻璃搅拌棒

我是维罗妮卡·莫阿尔，我是一名陶艺家。我进入陶艺界是偶然的，但经过十年的旅行，陶艺不仅成为我的热情，也成为了一个专业且至关重要的项目。以精炼的技法、手工制作、对工艺的尊重和对材料的精心选择为出发点，我的作品也以其诗意和叙事的细腻之处为特征。另一方面，它不断追寻本质，试图避免一切不必要的或多余的东西。在表面简单的线条背后，总有一个故事。我对材料的无限可能性以及它与语言和思想的关系充满热情。因此，我的提议聚焦于记忆、亲历经历的记忆、从现在解读并通过像泥土这样有机的东西实现的过去回声。我的作品中既有明显的功能性作品，也有带有明确艺术意图的其他提案。这反映了对我来说，艺术与日常之间的界限。

I am Veronica Moal, and I am a ceramic artist. I entered the world of pottery by chance, but after ten years of travel, pottery has not only become my passion, but also a professional and crucial project. Starting from refined techniques, handmade production, respect for craftsmanship, and careful selection of materials, my works are also characterized by their poetic and narrative delicacy. On the other hand, it constantly pursues its essence, trying to avoid everything unnecessary or redundant. Behind the simple lines on the surface, there is always a story. I am passionate about the infinite possibilities of materials and their relationship with language and thought. Therefore, my proposal focuses on memory, memories of firsthand experiences, and past echoes interpreted from the present and realized through organic things like soil. There are both obvious functional works and other proposals with clear artistic intentions in my works. This reflects the boundary between art and daily life for me.

西班牙语单词“película”意为“薄层”，其词源源自拉丁语“pellicula”，意指“薄皮”。因此，光线、无形或非物质的概念贯穿于这片悬浮的海藻酸盐细薄膜中，试图为覆盖任何陶瓷器物的表面层赋予诗意的意义。

本作品部分创作于拉科鲁尼亚大学化学与生物学交叉研究中心。材料选择非同寻常：瓷器、釉料与金饰与一种海洋衍生的生物高分子及实验室用的玻璃搅拌棒在同一层面上对话。经过两个月密集的反复试验，我成功将极细的瓷粒结合于一层极薄的海藻酸钠膜上，该薄膜模拟了陶瓷中透明釉层的质感。

一方面，瓷粒源自一件使用性器物，其在烧制过程中曾发生裂纹；另一方面，这些生物高分子材料取自海藻，具备可持续性与生物降解性，是传统塑料等材料的可再生替代品，且可通过改性提升性能，满足多种应用需求。它们可广泛应用于食品包装、医药和生物燃料生产，因有望减少塑料废弃物和环境负担而备受关注。而本作品则将其用于艺术创作。

The Spanish word 'pel í cula' means' thin layer ', which originates from the Latin word' pellicula 'meaning' thin skin '. Therefore, the concepts of light, intangibility, or non materiality run through this suspended thin film of alginate, attempting to give poetic meaning to the surface layer covering any ceramic object.

This work was partially created at the Center for Interdisciplinary Studies in Chemistry and Biology at the University of La Coru ñ a. The material selection is extraordinary: porcelain, glaze, and gold jewelry are in dialogue with a marine derived biopolymer and laboratory glass stirrer on the same level. After two months of intensive repeated experiments, I successfully combined extremely fine ceramic particles onto a very thin layer of sodium alginate film, which simulates the texture of the transparent glaze layer in ceramics.

On the one hand, porcelain particles originate from a utilitarian object that once cracked during the firing process; On the other hand, these biopolymer materials are derived from seaweed and possess sustainability and biodegradability, making them renewable alternatives to traditional plastics and other materials. They can also be modified to enhance performance and meet various application needs. They can be widely used in food packaging, pharmaceuticals, and biofuel production, and have attracted attention for their potential to reduce plastic waste and environmental burden. And this work will be used for artistic creation.

关于展览

Regarding the Exhibition

手工艺术，可回向今日我们所谈论之“艺术”的源初母体——获得直立行走能力，从而被解放了双手的人类，开始蹒跚懵懂地用手与身外的世界周遭打起了各种交道：抟土为器或造像，结绳为网或记事，刳木为舟、剡木为矢，聚石成塔、冶石成金……人类的文明、信仰、知识，就这么点点滴滴地建立了起来；而伴随着生活的器具所建立的，正是生活本身。

这是技/艺（techne, τέχνη）未分之时。日积月累，在地球之上的栖居和纷扰中，由手工而生的器具，见证了“满天星斗”式的文明萌生；又在漫长的岁月流转中，伴随着人类的迁徙、生产、交易，形成了一条条流动的手工艺术的航线，最终化身为我们在当代的手工艺术世界中，得以管窥、展望的一幅浩瀚星图。

现场同时展出“世界手工艺术星图计划”中的“亚洲工艺思想”特别单元，由来自中国美术学院的研究者、艺术家师生共同完成，并以此作为序章，联通向毗邻而即将开馆的“陶溪川国际手工艺术图书馆”（Taoxichuan International Craft Art Library），这一世界上最大规模的手工艺术主题图书馆，它的首批15000册藏书将在不久之后向所有到访者开放，各条人类历史上的手工艺术“航线”也将呈现于其中——“航线”与“星图”彼此牵引，成就一艘手与心的航船，让我们共同登上它的思想之甲板，借由手艺之罗盘，眺望、探索、共同制作未来的文化星图。