「花器密語」蕭錦嫺陶瓷作品展 by timable

當代藝術的語言和形式千百種,藝術家不斷思考、創新或打突前人留下的傳統藝術觀念以尋求與觀眾最理想的溝通橋樑。至於藝術家蕭錦嫺,她選擇以有源遠背景的陶瓷為媒介於當代發表創作,這與她細膩感性的心思和創作風格相輔。 蕭錦嫺在鄉村長大,自小已喜歡插花。當時家居的插花器皿以實用為主,不太講究,有從垃圾堆拾回來的玻璃酒瓶、小陶瓶和簡單的金屬器皿;所用花材取自天然,有比人還高的芒草、爬在樹上的五爪金龍,還有路邊的野花,喜歡便採摘回來,家居便能增添幾分美感。

婚後,蕭錦嫺要搬到城市去。當時旺角的家沒有很多家當,窗外只有石屎森林。年月過去,石屎森林依舊木無表情,她只能在旺角花墟買點「自然」的氣息回家。看著花兒綻放、枯萎,滿足了對娘家的思念。漸漸地,買花、插花和掉花成了公式,沒有真正凝視過,花就在生活中遠去了。

幾年前,蕭錦嫺到了日本信樂留駐做陶,參加了當地的柴燒。開窰時,她將一件件熱騰騰的陶器從窯中傳出來,仿如發掘珍寶。她把最好的一個黑色花器送給窰主以示謝意,窰主夫人高興地拿走。過了不一會,窰主夫人拿着那花瓶回來,瓶中已插了一枝從花園剪下盛開的紅玫瑰,右手還拿著花剪呢!蕭錦嫺當時感動極了,她從來不知道自己造的花瓶與鮮花配合起來是如斯的美和有意思啊!過去一年,蕭錦嫺又插花,插的是菊花。也許是對逝去的母親和弟弟的思念吧。

多年的愛花和造陶經驗中,其實蕭錦嫺最喜歡造花瓶;每次拉坯時的速度、陶泥的濕度和每一個微細的轉折,都令每一個瓶有其獨特的形態。今次展覽蕭錦嫺卻不採用拉坯方法,反而專注以軟泥板的技巧來製作花器,藉此探索從平面建構立體的可能性。至於主題,她參考了時裝形態和裁剪紙樣,讓作品有縫接的特質;離開慣性的拉坯技法,天馬行空,看看可以在創作上走多遠;同時,期望自己的花器超越美化裝飾的功能,能帶出插花人更多故事。展覽除了展出花器作品,蕭錦嫺邀請了幾位朋友來插花和講述他們插花的故事,讓人的氣息和情感注入器物。

Source: http://timable.com/event/1519720
PDF: 「花器密語」蕭錦嫺陶瓷作品展 – Timable 香港 事件
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花器密語 — 蕭錦嫺陶瓷作品展 by art-news 藝頻

當代藝術的語言和形式千百種,藝術家不斷思考、創新或打突前人留下的傳統藝術觀念以尋求與觀眾最理想的溝通橋樑。至於藝術家蕭錦嫺,她選擇以有源遠背景的陶瓷為媒介於當代發表創作,這與她細膩感性的心思和創作風格相輔。

蕭錦嫺在鄉村長大,自小已喜歡插花。當時家居的插花器皿以實用為主,不太講究,有從垃圾堆拾回來的玻璃酒瓶、小陶瓶和簡單的金屬器皿;所用花材取自天然,有比人還高的芒草、爬在樹上的五爪金龍,還有路邊的野花,喜歡便採摘回來,家居便能增添幾分美感。

婚後,蕭錦嫺要搬到城市去。當時旺角的家沒有很多家當,窗外只有石屎森林。年月過去,石屎森林依舊木無表情,她只能在旺角花墟買點「自然」的氣息回家。看著花兒綻放、枯萎,滿足了對娘家的思念。漸漸地,買花、插花和掉花成了公式,沒有真正凝視過,花就在生活中遠去了。

幾年前,蕭錦嫺到了日本信樂留駐做陶,參加了當地的柴燒。開窰時,她將一件件熱騰騰的陶器從窯中傳出來,仿如發掘珍寶。她把最好的一個黑色花器送給窰主以示謝意,窰主夫人高興地拿走。過了不一會,窰主夫人拿着那花瓶回來,瓶中已插了一枝從花園剪下盛開的紅玫瑰,右手還拿著花剪呢!蕭錦嫺當時感動極了,她從來不知道自己造的花瓶與鮮花配合起來是如斯的美和有意思啊!過去一年,蕭錦嫺又插花,插的是菊花。也許是對逝去的母親和弟弟的思念吧。

多年的愛花和造陶經驗中,其實蕭錦嫺最喜歡造花瓶;每次拉坯時的速度、陶泥的濕度和每一個微細的轉折,都令每一個瓶有其獨特的形態。今次展覽蕭錦嫺卻不採用拉坯方法,反而專注以軟泥板的技巧來製作花器,藉此探索從平面建構立體的可能性。至於主題,她參考了時裝形態和裁剪紙樣,讓作品有縫接的特質;離開慣性的拉坯技法,天馬行空,看看可以在創作上走多遠;同時,期望自己的花器超越美化裝飾的功能,能帶出插花人更多故事。展覽除了展出花器作品,蕭錦嫺邀請了幾位朋友來插花和講述他們插花的故事,讓人的氣息和情感注入器物。

2017年11月4日 – 2017年11月26日
開放時間: 13:30 – 18:00 (五至日)

Source: http://www.arts-news.net/node/23133
PDF: 花器密語 — 蕭錦嫺陶瓷作品展
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光與藝術的互為闡述——看「如是,有了光——文藝黃昏聚」(楊華慶) (獨立媒體)

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光作為生活的一部份,具有日常性,恆常的事物總是容易受人忽略而失去原來的光彩。藝術家製作藝術品讓觀者重新經驗光,不但喚起大自然的細節之美,更能發現觀看的盲點及不足。蕭錦嫻的《障子》正是以這種看似微不足道、毫不起眼的光的細節入手,呈現室內幽微光線的美感,發掘柔和光線所帶來的幸福。「障子」作為日本用以分隔室內外空間那一開一合的紙窗,非但沒有徹底隔絕空間,更能成就室外的陽光滲入室內,產生另一個柔和光場。而滲入室內那恬靜之光,不但潤飾了室內植物,更能與室內擺設互相共通,閃爍明滅,盡是自然之美,毫不矯飾。

Extract from : http://www.inmediahk.net/node/1033489

假如有光 那麼我們 (鄧小樺) (Pentoy 評台)

314

看過一本維也納美術館的畫集,以「光與暗」為框架,裏面竟有一章以電為題——在城巿中的光,不免與文明發展有關,進一步就是家居。蕭錦嫺的「障子」是日式家居中的光線,侘寂之美,以陶瓷這樣厚重而純潔的形式呈現。年輕的高倩彤,則以港人童年集體記憶、很多人家裏天花上牆上都有的「塑膠熒光星星」為素材,置之於一個頑皮而弔詭的處境。聲音藝術家Fiona Lee的作品來自一種更純粹的興趣﹕你知道各種不同的慳電膽,有着怎樣的聲音嗎?

Extract from : http://www.pentoy.hk/假如有光-那麼我們/

跨越黑與光 — 評《如是,有了光》/查映嵐

siu_EvzOf_1200x0

蕭錦嫻受日式民居紙門窗的透光性吸引,作品《障子》以炻器和木模仿其效果,炻方比紙厚重得多,背托木板更顯出其份量,遠看卻扁平,確實像木框紙糊窗。米白色炻方上有淡淡陰影,乍看以為是燈光效果,卻原來是炻上的印痕,如藝術家所言,看來像「竹簾影子灑落在障子上」。作品的美學顯然脫胎自谷崎潤一郎《陰翳禮讚》,谷崎認為陰暗創造含蓄的美,從幽暗中透出光,乃東方美學的精髓,明亮反倒破壞原有的想像空間。

 

Extract from : https://www.thestandnews.com/art/跨越黑與光-評-如是-有了光/

《雙長相因──不囿於「很美」的陶藝實踐》

藝訊 2010年十月號

劉宏達 / 《雙長相因》陶藝展參展者及協助成員

「能身為一分子見證整件事的誕生,使我感到驕傲。」

《雙長相因》陶藝展及配套活動將於本月舉行,是次展覽參展者為歷屆澳洲皇家墨爾本理工大學(RMIT)與香港藝術學院合辦之文學士(藝術)課程的陶藝主修畢業生。

溯源
《雙長相因》陶藝展的念頭可說是純粹的,由「大家再一次走在一起」出發。其意念產生,能追溯至二零零八年,策動的是一班主修陶藝的畢業生。意念初出至今天 展覽的出現歷時兩年半,一小步一小步的,走到今天寬敞的展場,讓歷屆畢業生以此作平台,另透過多元的配合活動,訴說著陶土與大家的故事。

和泥,塑一個我
若意念本是一個聚合同台展,讓久別的畢業生來一次「舊生展」,不算新奇。然而,「娛樂」與「美的享受」而「聯展」豈是終極目標?豈能符合他們的使命?
因為不甘於這只是一個舊生展,展覽委員會成員經連番討論,反思展覽主題,最終取名「雙長相因」,我會這樣演繹:陶土成形至燒製完成的同時,意念如一粒種子 得以萌芽與成長,即「雙長」;我在塑造陶土,陶土同時形成了我,二者關係密不可分,是彼此之源,是「相因」。「雙長相因」一詞,概述了參展者在技藝學養 上,隨年月的積累,有所進益,製成作品;反過來,作品的呈現又反映作者本人。
這標題最能彰顯習陶者(即我們)與生活的孿生關係──錯綜複雜、千絲萬縷,既是因,又是果,創作與生活雙生雙長,相長相生,既平行又互摻。

陶藝聯繫你我他
整個計劃不止於視覺上的考慮,可謂多元可親,照顧大家的知性與感官需要。
其中,「分享集」的出現,是延伸展覽可讀性的好幫手,讓我們扮演「導聽陶說」者,以陶/圖結合文字,叫觀眾的2D-3D思維、文字與圖像互相撞擊。展覽為 社區團體及公眾提供導賞已屬常事,計劃中更會配以涉及觸感的教育角,展示有關陶藝與自身的及感官上的關係,嘗試填補都市人久違了的觸感空隙。
另外,當中亦有一題為「講?講去,港泥要點去?」的論壇,歡迎公眾參與,邀請多位陶藝界與非陶藝界的資深藝術家、藝術工作者,實行來一次有關香港陶藝的集體智慧腦震盪。

泥土如何改變我們?
一直以來,我們也會說作品與作者的關係密切,創作者在思維的養成與時代環境,與他們的思想洞見息息相關:
最為明顯的,是參展者陳思光於異地發現自己於烹飪與做陶方式並無二致的描述,他亦提到:透過陶藝,個人本身變得不那麼害怕失敗,甚至不介意冒險和作一些徹底性的抉擇。
Zoe  Coughlan指出她在做陶的過程中,「做」成為了「瞭解」與「感知」的方法。認為當我們充分發揮所「想」,直覺因而得以發展,隨之能與外界聯繫……而「習慣」之形成,成為找出問題與解難的規律,可見當中藉實際行動,思想方式因此改變。
蕭錦嫺認為心手互為關顧溝通 之際,陶泥蛻變,而實象亦呈現,「自己」也在其中。
何敏儀指出,製陶給予自己在單調擠壓的生活中,稍作抽離。「在這安靜沉默的一刻,陶泥與我完全理解對方,確切地知道彼此間深切的連繫。」
獨處凝望,一切都回來了!

但願不止是陶友……
光陰荏苒,十載時光過去,是甚麼驅使我們仍有這股傻勁埋首工作?不吝嗇自己的付出?也是為了一樣東西──泥。「我塑造陶土之時,陶土亦改變了我」為箇中魅 力之一?還是追求陶我兩忘的「化境」?或是「我泥中有你,你泥中有我」1的詩意?除此,仍有絕大的部分也非單靠言語以確切傳達的。還是,更多的,是基於大 家對陶藝作為藝術一分子的發展仍舊關注,對創作仍有的一份執著,以及於陶藝之中及以外的抱負與使命感?

註︰
1.原出元代管道升《我儂詞》,她得悉丈夫趙孟頫欲納妾而作下此婉轉的詞。原文:「你儂我儂,忒煞情多,情多處,熱如火。 把一塊泥,捻一個你,塑一個我。 將咱兩個,一齊打破,用水調和。 再捻一個你,再塑一個我。 我泥中有你,你泥中有我。 與你生同一個衾,死同一個槨。」

Dual Plasticity: Unconfined by the Traditional Ideals of Beauty

from Artslink oct 2010

Lau Wang–tat / Participants and helper of the Dual Plasticity exhibition

”It is my pride to take part in and witness the birth of this exhibition.”

Dual Plasticity is a ceramic exhibition.  This exhibition showcases ceramic works created by graduates from the Bachelor of Arts (Fine Art) Programme, which is co-presented by RMIT University, Australia, and Hong Kong Art School.

The Origin
Dual Plasticity started with a simple idea of “let’s get back together and make some art”.  The idea was populated amongst a group of ceramics graduates with a shared passion for clay.  It was the creative exchanges between participants [these ceramic artists?] in the past two years that led to this grand scale project, with supporting activities at the spacious JCCAC galleries.  It is our honour to share our creative experiences and artistic passion with you all today at this ceramic exhibition.

Kneading My Clay and Modeling Myself
It is common for graduates to come together and co-create an exhibition.  However, a co-exhibition for pure aesthetic enjoyment and satisfaction amongst us is not the aim of our artistic pursuits.  Through a series of discussions between our members, we decided to exhibit under the theme of “Dual Plasticity”, to share our thoughts and stories about our creative process with the public.
During our study to become professional ceramic artists, we learnt how to transform and mold clay into the form we desired and to further use it as a medium to express ourselves.  “Plasticity” is one of the unique properties of clay.  It signifies the capability of clay to be modeled and ultimately transformed into the desired form.  However, as we work with clay throughout our lives, we discover that not only do we the artists take part in the modeling process, the clay itself too models and transforms us at the same time.   Clay not only changes our way of thinking and our way of perceiving things, it sometimes radically transforms our lives, careers and goals in life.  Hence, “plasticity” is not only a term applicable towards clay, but is also relevant to describing artists whose lives are modeled by clay.  In light of this highly bilateral relationship between artists and their materials, we chose “Dual Plasticity” as the theme of this exhibition.

The “Dual Plasticity” between You and Me
In this exhibition, we have a “Book of Sharing” that collects various photos of clay works and writings from the artists.  Through the actual artworks and the descriptions in the book, we hope to provide a more interactive curating experience to the audience.
There will also be a Forum at the exhibition on the topic of “Review and Outlook of Hong Kong Ceramics”.  We are very honoured to have experienced artists and distinguished personalities from the arts industry to share their views with the public.  All visitors are welcome to participate in the Forum and learn more about the ceramic art scene in Hong Kong.

How did Clay Transform Us?
We have mentioned the close relationship between clay and artists.  To better illustrate this idea, we have interviewed a few exhibitors:-
“Through creating my artworks, I understand that it is essential to go through trial and failure before one is able to produce a successful artwork.  Now, I become less afraid of failure and allow myself more room to make mistakes.  I do not mind taking risks and radical steps in life as a form of experimentation.  Over the past few years, I have changed my career and have been learning new things from artists all over the world.  I am eager to see how I have transformed through this process of searching.”  (Chan See-kwong Ray)
“Making becomes a way of knowing.  The actions associated with working with clay, understanding the properties of the material and the frustrations involved engage our minds in a different way… We develop an understanding of our way of thinking and how we connect with the world outside.  These “habits” establish a rhythm between problem solving and problem finding.  Through action, we start to think differently. “ (Zoe  Coughlan)
“As I transform my clay, my mind and hands are united.  Gradually, the clay is transformed into the form I desire, preserving the “I” in it.” (Siu Kam-han)
“In this moment of silence, sometimes I feel that the clay and I understand each other perfectly. We know exactly what the other wants to do and work in perfect harmony.” (Ho Man-yee Blanche)

Afterwords
For ten years, we have worked tirelessly to produce works of clay.  There were times when we questioned our undying drive in artistic pursuit.  Where does this vibe come from? Why are we willing to sacrifice so much for our artistic career? Maybe the answer lies in the charisma of clay itself.  Many of us here have experienced the intense bond between our clay and ourself.  Through modeling our clay, we are able to search for our own identity and ultimately transform ourselves into a more complete person.  Perhaps this is also opening the door to the spiritual experience where one can forget one’s individual identity and bond with the world as a whole.  Or even it can be the kind of artistic romanticism as described in the line of “In my clay I see you, and in your clay I can see myself”.  These experiences and spiritual elements of ceramics are hard to express through words alone.  Yet one thing we are certain is that we all share the same genuine concern for the future development of ceramics and have a strong sense of responsibility towards continuing our contribution to this art form.

Arty Privy Hong Kong Arts Centre 30th Anniversary

Introduction & Background

“Art Privy” is a public art project done by students and graduates of Hong Kong Arts Centre (HKAC), together with architect designers who support the HKAC. The group collaborated on this experimental project which was initiated by the “Building Committee*” of HKAC to commemorate the 30th anniversary of HKAC.

5 floors of toilets accessible to the public were selected and assigned to different designers and artists to design a site specific toilet interior design to suit the unique explorative & experimental spirit of HKAC.

We encourage you to explore and experience these yourself whenever you are in the vicinity, they are located at 5/F (Pao Gallery), 4/F (Jockey Club Gallery/ Pumpernickel Café), 3/F (Experimental Gallery), UB/F (Agnes b Cinema). & LB/F (McAulay Studio). There are also “Guided Map” & “Guided Tours” available on site. Email: guidedtour@hkac.org.hk

Ms Fiona Wong, who is HKAC tutor as well as our local reknowned practicing ceramic artist, had kindly assisted to introduce and coordinate various selected artists to materialize this experimental project. Thanks to her dedicated effort.

We introduced here below the concept design statement of each of the designer’s/artists’ team revealing their thoughts when designing these functional spaces and gem pieces.

Funds came from “Jockey Club”. Main material sponsor is “Roca”, who kindly sponsored all the fittings for this special series of experimental art project; other sponsors include St Glas & Formica. The project would not have been possible without their support.

*Building Committee Members – Mr Bryant Lu, Ms Julia Lau, Mr K K Kwan, Mr Peter Yuen, Mr Sammy Mak

Artist Statement

8. Siu Kam Han
A den for woman is a place full of beautiful
things.The one for man is a primitive place, quite,
comfort and full of love. It is a placenta.

Full article: Arty Privy Hong Kong Arts Centre 30th Anniversary [pdf]