Crescent Moon, Mild Wind – Contemporary Ink Wash Painting & Ceramics Xu Ke & Li Shao Zun dual exhibition

cresent-moon-mild-wind
12 Jan 2014 – 12 Mar 2014
11-19 Tue-Sun
 
2014年1月12日–3月12日
11-19点  周二–周日
 

There is a night with a crescent moon, blowing with a mild breeze.

FQ Projects is pleased to present the dual show of contemporary ink wash paintings by Xu Ke and painted ceramic works by Li Shao Zun.

Crescent Moon is taken from a Buddhist metaphor, meaning ‘the truth in the mystery’. The spirit of Xu Ke’s ink wash paintings could be said to run in parallel with this metaphor; mysterious in themselves. His work needs to be viewed with an appreciation towards the interaction between the three key elements of this medium; water, ink and paper.

The spontaneous contact between these three materials expresses both the mark and rhythm of the ink, creating a synergy with the variations of shade on the paper. This not only expresses an important semantic of Xu Ke’s ink wash world, but also allows his life experiences to be converted symbolically through his visual language. The trace of the blending between ink and water reveals both depth and restraint within his work. As a result the accidental effect through various combinations of black and white becomes both profound and intangible. He focuses on the original character of the ink, yet also stresses the brush to obey his inner feelings and present spiritual intentions of Zen. The works on display are all forms of grid collage, allowing the possibility to appreciate each piece not only in its entirety but also as separated edited entities. This creative form of working was originally pioneered by Xu Ke and even now is rarely witnessed within the ink wash world.

Echoing Xu Ke’s ink wash paintings, Li Shao Zun’s ceramics reflect the art of creation through the state of meditative breathing. Kao Gongji is the world’s earliest literature on crafts theory. It proposed a simple view on generating art stating “the sky has tense, the ground has atmosphere, material has beauty, and work has skill, one is best with all four united”. To date the porcelain concepts of Li Shao Zun still rely on the big idea behind these simple rules. When creating art, this idea influences the connections between the artists collections of colour under glaze, glaze colour, clay and porcelain craft. Li Shao Zun’s works in plain hand-throwing manufacturing keeps to the manual production of pottery. It first uses traditional cylinders and spray base colouring, then drawings and paints colour before glazing. It is also manufactured with airbrushed engravings and similar practices. The rough texture of works in clay and the exquisiteness of porcelain find a balance between one another and form a distinctive matte texture.

Li Shao Zun’s work is created on the basis of a balanced and self-satisfied state of mind. He uses picturesque paintings from life, such as the flowers and plants of the four seasons, and simply portrays the forms and colours of an object. Primarily depicted in gloomy hues, the work balances and contrasts single colours in a plain pursuit of a pure, simple and natural realm. Such an attitude for creation happens very rare in Jingdezhen. His unique creations refer to the aspects of painting, texture and iridescence.

Xu Ke’s work is regularly exhibited in western countries and collected by International Institutions. Currently he lives and works in Shanghai.

Li Shao Zun, born in Jiang Xi, graduated from Jingdezhen Ceramic Institute. His works were selected for Jiang Xi Youth Exhibition, receiving prize of Jingdezhen Ceramic Baihua Awards in 2006. His works were also exhibited at Treberfydd Foundation, Wales. Currently lives and works in Jingdezhen.

View artist profile:

Li Shaozun

Xu Ke

玄月之夜,清风拂过。非青计划荣幸展出由徐可和李少尊分别创作的宣纸水墨和彩绘陶瓷作品的双个展 — 玄月、风。

玄月,佛教比喻玄妙的真理。

徐可的水墨画犹如玄月,玄妙于其中,需细细欣赏水、墨、纸三者之间互动之美。

水与墨的接触瞬间留下的墨迹、墨韵及浓淡变化,是构成徐可水墨世界的重要语义,也是他把自身对生活的体验转换成一种可视的语言符号。墨水交融形成的痕迹透出幽深与内敛,将各种不同的偶然效果组合在一起而形成的黑白世界,既深邃又空灵。他注重水墨材质的原本性,又强调笔性要服从内心感受,表现出纯粹的精神意向和深深的禅意。这次展出的作品形式全部是方格作品拼贴,既整体又有分隔编辑,为徐可所特有的创作表现形式,也是迄今为止在水墨界罕见的表现形式。

李少尊的陶瓷彩绘作品与徐可的平面作品相呼应,都为冥想与呼吸之气的产物。《考工记》是世界上最早的工艺学理论文献之一。它提出的“天有时,地有气,材有美,工有巧,合此四者,然后可以为良”这一朴素的工艺观,是李少尊制瓷观念的来源。他的陶瓷集合了釉下彩,颜色釉,陶泥和瓷泥等工艺和材质。其作品以手工拉坯制作并保持制作过程中的手工痕迹,用传统制缸用陶泥喷制底色,然后用釉下五彩绘制,结合喷刷刻划等手法制作,作品在陶泥的粗糙质感和瓷泥的细腻之间寻求平衡,形成一种独特的哑光质地。

李少尊的作品是以一种平静自得的心态,通过写生四季花草入画,单纯地描绘对象的形色,作品在以灰色为主的色调中平衡和对比单系颜色,在平实中追求古朴,自然,单纯境界。在景德镇稀有像他这样的创作心态,在绘画主题、材质完成琢磨和晕色方面他的创作都是独一无二的。

徐可,上海人,其以往多数作品曾多次在欧洲国家参加个展和群展,并被国外的一些机构收藏。目前创作于上海。

李少尊,出生于江西,毕业于景德镇陶瓷学院。其作品曾被选入江西青年美展;2006年获得景德镇陶瓷艺术百花奖;2012年入选参加英国威尔士Treberfydd联展;目前工作于景德镇。

艺术家简介:

李少尊

徐可

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