My work in Ceramics has been an on-going process of trying to feel the gestures present in nature. For me so-called ”landscape” is a three-dimenasional concept. It is all about gesture and the struggle of man against nature. An example of gesture in nature is the energy expressed by the movement of water. It might be a river or mist. It could be rain or the ocean wares breaking on the rocks To contain this idea of the landscape in the bowl or vase requires an understanding of gesture.
Pottery forms tend to speak about volumes as does the sky and ocean in nature.A significant change of scale has been made for the viewer in these ceramic expressions. In earlier pieces I used masses of clay at the bottom of a vase to suggest a visual grounding of rocks, beaches and rugged terrain. It also gave physical balance to these tall pieces. I am committed to expressing the visual energy that I see in nature.
The Chinese landscape introduces images which are less familiar to my use. I can not identify a massive stone lion in my work, but I am certain it has a presence there. The presence can be seen in my certain work. And they have expanded the definition of what landscape means to me.
我的创作一直在试图表达一种对自然界所呈现的状态，对我来讲所谓的景观是立体的空间概念，是所有关于人与自然的生存状态。在自然中某种态势的产生可以使来自水的运动，或河流、溪水，或春雨绵绵……在碗形或瓶形的作品中表达这样的感觉需要对自然的状态有一定的理解。
陶的造型倾向与谈论体积，就像自然界中的天空和大海的体积。在陶艺表达中，为了欣赏者，创作人员在尺寸上做出了重大变化。在早期瓶形的作品中我采用相当厚的底部，暗示一种视觉沉稳，如岩石、沙堆或凹凸的石块，让高高立起的瓶形产生一种平衡感。我醉心于表现自然界所呈现出的能量感。
我对中国景观中的视觉因素并不熟悉，你也许很难在我的作品中看到古代建筑前的石狮，但能感到它的存在。这些感觉在我的某些作品中有所体现。无形中延伸了自然景观的定义与内涵。 |
