星图与航线 | “景德镇大奖”新锐创作奖获奖作品介绍

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:新锐创作奖

获奖作品

“Jingdezhen Prize” Shortlisted Works

Recipients of the Emerging Creation Award

新锐创作奖聚焦陶瓷艺术当代创新实践，旨在全球范围内发掘兼具先锋实验精神与未来艺术价值的青年创作力量，推动传统陶瓷工艺向未来艺术形态的创造性转化。

作品：《彩色卢托弗洛罗斯：蓝红揭示姿态》

Polychrome Loutrophoros Gesture of Revealing in Blue and Red

作者: Ebony Russell

材质：陶瓷，釉料

埃博尼·拉塞尔是一位澳大利亚艺术家，采用非传统的陶瓷雕塑制作方法。她独特的技法源于对性别美学、劳动力和传统工艺实践的兴趣，拉塞尔通过将瓷器层层叠加，逐步塑造出违背重力的形态。挑战传统的装饰器皿制作工艺;在她的作品中，装饰成为结构，两者之间的界限被抹去。拉塞尔的作品探讨了曾经被限定为女性化、因此微不足道的文化和艺术实践的既定认知，歌颂了纯洁的装饰性、放荡的美学与政治;表面、过度与愉悦——带着愉悦。

埃博尼·拉塞尔于2003年在莫纳什大学获得应用艺术学士（荣誉）学位，2019年毕业于悉尼国家艺术学院，获得美术硕士学位。拉塞尔获得了许多奖项，包括2018年的弗朗茨国际新星奖和2022年的梅鲁加尔女性艺术奖。最近在2023年，拉塞尔获得了伦敦国际青年大师梅利斯大陶艺奖的高度表彰奖。

主要展览包括2024年威尼斯Homo Faber、2024年纽约哈莱姆Claire Oliver画廊的《摇摇欲坠》、伦敦2023年青年大师艺术奖、悉尼2023年《1001件非凡物品：动力博物馆》、2023年洛杉矶Gavlak画廊的Think Pinker、2022年西班牙Yusto Giner画廊的SABOTAJE ESTEìTICO、2022年旧金山现代伊甸画廊的Halcyon Days、2022年《Clay Dynasty》： 动力博物馆 2022。

Ebony Russell is an Australian artist who uses non-traditional ceramic sculpture production methods. Her unique techniques stem from her interest in gender aesthetics, labor, and traditional craft practices. Russell gradually shapes forms that defy gravity by layering porcelain. Challenge traditional decorative vessel making techniques; In her works, decoration becomes structure, and the boundary between the two is erased. Russell's works explore established perceptions of cultural and artistic practices that were once limited to femininity and therefore insignificant, praising pure decorative, licentious aesthetics and politics; Surface, excess, and pleasure - with pleasure.

Ebony Russell obtained a Bachelor of Applied Arts (Honours) degree from Monash University in 2003 and a Master of Fine Arts degree from the National Academy of Arts Sydney in 2019. Russell has won many awards, including the 2018 Franz International Rising Star Award and the 2022 Meruga Women's Art Award. Recently in 2023, Russell received a high recognition award from the London International Young Master Melis Grand Ceramics Award.

The main exhibitions include Homo Faber in Venice in 2024, Claire Oliver Gallery in Harlem, New York in 2024, Young Master Art Award in London in 2023, 1001 Extraordinary Objects: Museum of Power in Sydney in 2023, Think Pinker at Gavlak Gallery in Los Angeles in 2023, SABOTAJE ESTE ì TICO at Yusto Giner Gallery in Spain in 2022, Halcyon Days at Modern Eden Gallery in San Francisco in 2022, and Clay Dynasty: Museum of Power in 2022.

我的陶瓷雕塑 以抽象的形式探索女性身体的表现，将鲜艳的手工工艺与深刻的观念性主题相结合。我采用色彩鲜明的瓷泥，通过复杂的挤花技法（灵感源于蛋糕装饰和家居手工艺）进行创作，从而提升了那些传统上被低估且与女性相关的装饰性艺术形式。这种极具劳动密集度的创作方式，旨在突显女性历史中所蕴含的脆弱与坚韧。作品表面的纹理象征着力量、关怀与复杂性的多重层次，同时也传达出在压力下可能崩解的紧张感。我的灵感来源包括古代陶瓷传统，尤其是古希腊的婚礼水罐（loutrophoros）和公元前400至300年间意大利卡诺萨（Canosa）地区的殡葬瓮。这些作为叙事、神话建构与文化认同载体的器物，为我的当代表现主义实践赋予了深厚的文化与政治内涵。在我看来，陶瓷容器不仅仅是形式上的“容器”，更是承载记忆与历史的“身体”。我的创作实践也回应了当今全球女性权利的斗争，借由形式、材质与技法体现出美与张力之间的微妙平衡。我的作品评论了在政治与社会动荡中性别平等成果的持续脆弱性，强调女权主义并非终点，而是一场持续演进中的实践。通过这一层层堆叠而成的陶瓷形式，我邀请观者反思女性在历史中的被崇敬与被抹除，促使人们重新审视关于身体自主、法律权利与社会文化认同的未竟之争。这件雕塑作品是由我亲手处理的瓷土制成。我先将陶土块分解为泥浆，并反复精炼至适合使用裱花袋和装饰嘴挤出的稠度。接着，我运用陶艺专用的色料对瓷泥进行着色，并通过一系列测试以获得理想的色彩组合。在确定颜色并准备好所需数量后，我开始缓慢地建构作品，每一层都需在前一层略微干结后才能继续添加，以确保结构稳定且不会坍塌。由于材料质地类似奶油霜，在创作过程中我无法直接接触或包覆作品，因此必须在精确控制的节奏中工作，整个过程通常需历时数周乃至数月。作品完成后，我会将其小心搬入窑中，进行一次高温烧制。由于我工作室的窑炉尺寸有限，这件作品分为三部分完成，总制作周期约为三个月。我虽以基本草图和尺寸规划为基础，但在创作过程中，色彩的布局与结构的发展始终保留着即兴与自然演变的空间。

My ceramic sculptures offer an abstract exploration of the female form, combining vibrant craftsmanship with a powerful conceptual message. Utilizing brightly colored porcelain slip applied through intricate piping techniques—reminiscent of cake decorating and domestic crafts—I elevate traditionally undervalued decorative arts historically associated with women. This labor-intensive approach highlights both the vulnerability and resilience embedded within women's histories. The surface textures symbolize layers of strength, care, and complexity, while also conveying the tension of potential unraveling under pressure.

Drawing inspiration from ancient ceramic traditions, particularly Greek loutrophoros water carriers and funerary urns from Canosa (400–300 BCE), my work references objects that serve as vessels of storytelling, myth-making, and cultural identity. These influences inform my contemporary feminist perspective, positioning the vessel as a site of cultural memory and political significance. My practice engages with current global struggles for women's rights, using form, material, and technique to embody the delicate balance between beauty and tension. The work comments on the ongoing fragility of progress in gender equality amid political and social upheaval, emphasizing that feminism remains an active, evolving pursuit. Through these layered ceramic forms, I invite reflection on the historical reverence and erasure of women, challenging viewers to reconsider the ongoing fight for bodily autonomy, legal rights, and socio-cultural recognition. The sculpture is made from hand-processed porcelain. I begin by breaking down clay blocks into a slurry, refining it to a consistency suitable for piping through a confectioner's bag and decorative tips. Potter's stains are used to color the porcelain, with a series of tests to achieve the desired palette. Once the colors are finalized, I slowly build the form layer by layer—over days, weeks, and sometimes months. Because of the soft, icing-like consistency of the material, I cannot touch or wrap the work as it is being made. Instead, I work in timed intervals, adding each new layer as the previous one sets just enough to support it, ensuring proper adhesion without risking collapse.

The completed work is carefully lifted into the kiln and fired once to high stoneware temperature. This piece was created in three parts to accommodate the size limitations of the kiln in my home studio. The total making time was approximately three months. I work from basic sketches and measurements, planning colors in advance to maintain control over the final composition.

作品：《通道》

Passage

作者: 童心笛 & 沈婷

材质：陶瓷，高温颜色釉

童心笛&沈婷艺术家组合，分别毕业于芝加哥艺术学院的纯艺术专业和中国美术学院的陶瓷艺术设计专业。童心笛&沈婷在创作中，通过自制的机械和电脑编程精确控制陶瓷创作，实现对陶瓷制作过程中变量的精确控制，以求达到模拟大自然造物的最终目的。他们曾分别在杭州眠云居举办过“釉惑”和“弥尘”两次个展，伦敦Ting-Ying Gallery的“Artefact”群展，并在同年8月的第十二届中国当代青年陶艺家作品双年展上展示。童心笛&沈婷还参与了2023年2月在中国美术学院民艺博物馆举办的“信使与国工”中国陶瓷绘画特展，以及2023年10月在北京三远当代艺术的“技术新感知”当代手工艺实验展。2021年，其作品《蓝绿幕布》被英国维多利亚和阿尔伯特美术馆收藏。

The artist duo Tong Xindi & Shen Ting graduated from the School of the Art Institute of Chicago with a degree in Fine Arts and from the China Academy of Art with a major in Ceramic Art Design, respectively. In their creative practice, they employ self-built machinery and computer programming to achieve precise control over ceramic production, aiming to simulate the natural creation process. They have held two solo exhibitions—"Enamel Enchantment" and "Dustless"—at Mianyunju in Hangzhou, participated in the group exhibition "Artefact" at London's Ting-Ying Gallery, and showcased their work at the 12th China Contemporary Young Ceramic Artists Biennial in August of the same year. Additionally, Tong Xindi & Shen Ting took part in the "Messengers and State Crafts" special exhibition of Chinese ceramic painting at the Folk Art Museum of the China Academy of Art in February 2023, as well as the "New Sensibilities in Technology" contemporary craft experimental exhibition at San Yuan Contemporary Art in Beijing in October 2023. In 2021, their work *Blue-Green Curtain* was acquired by the Victoria and Albert Museum in the UK.

此作品通过艺术家自制的釉料滴绘机械，把一个数学波形转译成物质图像，在瓷板表面以交错的釉线“编织”出一个通道般的画面，它既引导视觉，也像是通向内在的一种延展。在釉料“编织”的动作中，规律和错位、结构与流动彼此交织，像自然界里波与波的干涉、力与力的缠绕，是一种有规律但不完全可控的生成逻辑。

作品图像的基础来自一个特定频率的波，艺术家通过程序将它转化为可视，再把生成的路径输入装置，让釉线挤出在瓷板上。烧成后，这些线条熔融、融合，留下平滑又带细微变化的釉层。这个过程既体现了人对规律的计算与设计，也留下了材料和温度共同作用的痕迹。此作品既是一种技术实践，也是一种对秩序、物质与自然关系的探索。

This work translates a mathematical waveform into a material image through the artist's custom-made glaze dripping apparatus, "weaving" a passage-like pattern of interlaced glaze lines across the porcelain surface. It simultaneously guides the viewer's visual experience and evokes a sense of extension toward the inner self. In the act of glaze "weaving," regularity and displacement, structure and flow, intertwine—much like wave interference in nature or the entanglement of forces—a generative logic that is systematic yet not entirely controllable.

The imagery is based on a wave of a specific frequency, which the artist transforms into visual form through programming, then inputs into the apparatus to extrude glaze lines onto the porcelain. After firing, these lines melt and fuse, creating smooth layers with subtle variations. The process embodies both human calculation and design while preserving traces of the collaborative effects of material and temperature. The work functions as both a technical practice and an exploration of the relationships between order, matter, and nature.

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。