Working with clay is like a conversation. I cut the clay, and look at its response to the cutting tool. I toss it, tear it, roll it, and pound it. And I look. I am always looking for a fresh texture, a new edge, a paper-thin sheet to layer. Sometimes I set out to make a texture but notice one in the process that is better than I could have made. I cut it off and use it as a layer.
Although I control what I use in the piece, this process keeps me looking at the clay as if for the first time. It keeps the conversation going. The weight of the wet clay may cause it to sag. Sometimes I leave it. The cone 10 firing may cause the porcelain to wrap or crack. Sometimes it’s good, sometimes not. I try to relinquish control.
The form that I choose to make is the result of the exploration of opposites, yin and yang, and the limitations placed in fluidity in order to maintain stability. The properties of the wet clay, the fire, and the extremes of excess and constraint contribute to the balance of what is left for discovery.
用黏土进行创作犹如在进行一场对话。我切割黏土，看看它对切割工具有什么样的反应，我把它抛弃、撕裂、砸实。我总是努力探寻一种具有全新纹理、全新边缘，薄厚如纸的泥片。有时在开始制作纹理时，我发现会有更好的纹理出现，于是就把它割下来，做成泥片。
虽然我掌握着在作品中所使用的一切，但这种方法使得我总是把它当做是第一次接触黏土。这种对话会一直进行下去，湿润黏土的重量可能会使其下陷，有时我对它置之不理。时好时坏，我尽量放弃自己的控制。
我所选择创作的作品造型是对阴阳对立的一种探究，同时也是出于对流质稳定的限制。黏土湿润程度和烧制用火的性质以及过于激动和压抑的情感状态对我的控制与进一步的探索之间带来了一种平衡。 |
