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Resident Artist - Nanxi Jin

Longquan Research Institute of JCU

Nov 13, 2024

驻场艺术家 - 金楠稀

景德镇陶瓷大学龙泉研究院的国际陶艺交流项目一直致力于构筑连接全球陶瓷艺术的桥梁。通过一系列精彩的展览和深入的交流活动，我们向世界展示龙泉青瓷的非凡魅力，并更广纳世界各地的艺术精粹。2024年10月，我们荣幸邀请到了美国陶瓷艺术家金楠稀来到龙泉研究院进行为期两个月的驻场创作。本文根据其驻场期间访谈、交流等材料综合编辑整理完成。

金楠稀的艺术实践深受她在中国的成长背景和在美国的艺术教育的影响。她在一个景德镇的艺术家家庭出生并长大，在受到景德镇的浓厚陶艺创作氛围和悠久的陶瓷传统工艺历史的影响下，她从小便开始探索陶艺创作并吸收传统文化于自己的艺术感知。她将中国文化中对传统和工艺的敬重，和谐与平衡等文化元素融入自己的创作理念。传统东方艺术中如水墨画和陶瓷中所展现的优雅、细腻和内省的特质和利用简约的方式来捕捉大自然的精髓和传达深刻情感的艺术哲学深深地影响了她的创作。在美国的求学过程中，她将西方文化中关于实验性、创新性和概念探索等方面的思考纳入她的艺术理解中。西方艺术中表达自由、关注个性等概念促使着她去探索尝试新的材料和技术，并与当代思想进行互动。

Various Vase

Stoneware

91.44 x 43.18 x 58.42 cm

2020

目前，她的创作以雕塑和装置艺术为主。她的创作灵感主要来源于她的个人经历和周遭世界带给她的启发。她的作品“Various Vase”（《百变花瓶》）便是她对容器形态多样性的深入探索与巧妙融合的结晶。作品灵感来源于她工作室门前的花瓶，以及景德镇公共工作室里那些大小不一、随性摆放的陶瓷器物。在这件作品中，她巧妙地将不同花瓶的截面形态融合在一个平面上，并通过细腻的笔触和技巧达到了质感与美感的平衡。这些截面如同折叠的纸张，展现出柔软与坚硬的特质。黑色的边缘线则清晰地勾勒出每一笔触的间隔，赋予了作品强烈的空间感和立体感。在观赏这件作品时，观者会看到一个花瓶的形象，尽管它是一个没有实际功能的“花瓶”。随着作品造型的变化，观者的视线也随之移动。这种体验在无形中打破了人们对“花瓶”的传统主观印象，引导观者去思考“花瓶之上”的事物。

"This piece is an exploration and combination of different vessel types. The inspiration for this piece is the vase at the door of my studio, and the vessels of different sizes and shapes placed disorderly on the shelf in the public studio space in Jingdezhen. I am interested in the staggering place created by the side curves of different vases when viewed from the front. In this work, I put the cross-sections of different vases together on a piece of clay. By using repetitive brush strokes and techniques, I reach the balance of quality and beauty. Like folding paper of different shapes, the slabs look soft and hard. Repeating patterns make the work look flat, but the black edge lines emphasize its space and three-dimensionality. The black lines are easy and smooth, clearly indicating the space between brush strokes. When a vase is placed on a table, people will circle it to look at it in 360 degrees. What people see when they look at this work is also a vase, although it is a "vase" without practicality. The observer will change their viewing path along with the shape of the piece, unconsciously breaking their subjective impression of this "vase" through their viewing experience." (nanxijin.com)

金楠稀对龙泉青瓷的第一印象停留在其透明明亮的釉色上。然而，通过在龙泉的驻场，她对青瓷的认知发生了明显变化。她从最初对青瓷茶具和小摆件的认识，扩展到了对大型青瓷作品的探索。在驻场期间，她参观了龙泉青瓷博物馆和许多陶艺工作室，观察了各类釉料的烧制工艺。从中她了解到了制作大型青瓷作品的可能性和挑战，感受到了青瓷在大件创作中对工艺精度和烧制技术的严格标准。这些经历让她对龙泉青瓷有了更深入的理解，并发现了更多创作的灵感。

在本次驻场中，她的作品主题将围绕青瓷的制作工序展开，每一组作品都对应青瓷制作程序中的某个关键步骤。从泥土混合、注浆成型、修坯、粘接，到最后的烧制和瑕疵品的处理，她希望她的作品能够让观众感受到青瓷制作的每道工序中的精细工艺和艺术之美。

关于艺术家

About Artist

金楠稀是一位目前在芝加哥生活和工作的跨领域艺术家。她于2020年在阿尔弗雷德大学纽约州立陶瓷学院获得艺术与设计学士学位，并在2022年取得了芝加哥艺术学院陶瓷方向的艺术硕士学位。她的作品曾在多个展览中展出，包括2019年的陶瓷艺术大道画廊（Ceramic Art Avenue Gallery），2021年纽约设计周期间的NYCxDesign，以及2023年的:iidrr画廊。她荣获2022年“石湾杯”青年陶艺大赛一等奖、第十二届中国陶瓷艺术展银奖及中国民族工艺美术大赛银奖。她的作品《百变花瓶》被广东石湾陶瓷博物馆收藏。

艺术家自述

Artist Statement

"Ceramic is a permanent medium and I’m a reluctant visitor."

As a Chinese artist living in the United States for the past decade, I have grappled with the tension between my early years in China, where I immersed myself in art centered around harmony, nature, and composition, and my art education in the US, which encouraged me to learn the rules in order to break them. This juxtaposition has greatly influenced my artistic journey, as I now combine my appreciation for harmony with the vibrant colors, conceptual leanings, and unrestricted expression of Eastern gestures inspired by Western landscapes I have discovered in Western aesthetics.

Raised in a traditional ceramic city where perfection was the ultimate standard, I initially focused on mastering traditional techniques. However, clay, being a paradoxical material—both fragile and sturdy—has led me to reconsider its possibilities and explore its unique qualities. I now emulate the impressionistic gestures found in traditional pottery by intimately engaging with the clay, using touch and pinching techniques. Through gentle taps on the soft clay, I create imprinted surfaces that visually and materially record the passage of time. This process establishes an emotional bond with the material and allows the clay itself to guide my artistic expression. I have found liberation in my creative process by embracing imperfections and welcoming mistakes and chaos.

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