【视频】| 我们执着于历史，因为它使我们认识到在未来、过去并不如现在明确（京畿道出展作家） 【沁润艺术】瑞恩.米切尔-沁润
Ryan Mitchell | 瑞恩.米切尔
The world we inhabit fluctuates between moments of chaos，brute hostility and profound examples of care and beauty.Our efforts center on the preservation and protection of what we cherish and value. The implications of our effortsoften escape our grasp and intentions, it is for this reason, that as an artist I am interested in how we choose tohandle and engage the world we create and are given.Clay provides an opportunity to explore these relationships, both in the creative process and in terms of the final product. In any given event, clay can simultaneously be about both human intention and natural occurrence. It is amaterial through which we can understand the full spectrum of human history: both, creation, destruction and eventual decay. Metaphorically or literally, it serves to ground us, as well as record nearly every aspect of our existence. I tend to look for meaning and truth in residue and rubble of our daily world, rather than in the pursuit of our ideals. It is there that I see the need for coaxing beauty out of ugliness, and the choice for finding grace amidst vulnerability and uncertainty.
我们居住的世界是起伏在不安，粗鲁与关心，美丽间。我们的努力集中在保护及保留我们认为有价值及值得我们开心的事。但是我们常常力不及逮，因此，作为一个艺术家，我特别想知道如何能为我们的世界作些什么。陶艺为此提供了一个探讨的机会马尧海，这不但从陶艺的创作过程里或是从最终的作品里。在任何情形下，陶土是人类需要的也是自然存在的，它是一种材料，我们可以从它了解人类的历史，它的产生，创作宜丰吧 ，毁灭以及消失。它埋葬我们，同时又记录我们存在的每个细节。我常试在我们的日常生活的残余里寻找意义及真理，而不是展现我们的想法。从那里我看到如何从丑美里并存美，以及在不安及不肯定中如何选择寻找庄重。
京畿道陶瓷双年展出展作品
The Gawangju exhibition for the 2017 Biennale is titled Memory Reflecting on Life. The exhibition concept is well suited to thedevelopment of my practice. It is a simple fact that tombs were dug up, ultimately disrespected in the pursuit of meaning.
Synthetic and artificial archetypes drive our daily pursuits for success, health and happiness. We look for significance in theproducts of the past, yet undoubtedly many past aspirations were based on the some synthetic archetypes. In the end we findmostly only a place where beauty of our dreams and destructiveness of our drives coalesce.
京畿道光州举办了主题为《记忆：回望生命》(Memory Reflecting on Life)的展览，作为2017年京畿世界陶瓷双年展的一环。该展览的概念与我创作的进化过程非常相符。简单来说就是为了寻找涵义而挖开坟墓。
人工合成的典型(archetype)会引领我们追求日常生活的成功、健康、幸福等。虽然我们会为过去的产物赋予涵义，但毫无疑问的是，很多曾经的渴望均源于相同的合成典型迪拜人工岛。这就导致我们只能发现我们梦想中的美丽和欲求的破坏性结合之处。
So what does it mean for an artist to make works in relation to ancient artifacts?
Ancestors walked into the future facing forwards, they picked up tools and information along the way. With filial appreciationand respect they leftthe father at home with his accomplishments and built upon them. However in the modern era culturalnarrative and influence crisscrossed and something new happened. A crisis of cultural identity occurred. Now, in Asia, theheartland of America or the far reaches of any place you can find; there are debates and diatribes on the importance oftradition. Facing the past forlornly; half the world now marches into the future using their ass for navigation.
如此而言，创作出有关历史文物的作品，对艺术家来说具有何种涵义呢?
我们的祖先回望历史，走向未来。他们一边走，一边选择工具，获得信息。然而，在现代，文化叙事和影响相互交叉，诞生出全新的事物。这给文化认同性带来了危机。亚洲、美国中心，以及世界各地都在开展与传统的重要性有关的争论和批判。全世界依然有很多人悠然自得地直面历史，在航行中利用自身的感觉，走向未来苍之封印 。
To be contemporary isn't as simple as tradition versus newness. Both are subjected and beholden to the dictums ofcontemporaneity.
To be contemporary, isn't simply to be current; it is to recognize that we feel disconnected from our past in a way that pastgenerations did not. It is an awareness thatthe present is a momentum heightened and perpetuated by the interconnectednessof a globalization increasingly distinct from the past. Because of this momentum, we are aware that our projects and productswill not be understood in a historical sense. So, there is an irony : we latch on to the past and fetishize it, because we realizein future-the past will be less clear than it is now.
“现代”，并不像传统和创造之间的关系那样简单。传统或全新的创造都是同时代的名言(dictums)对象，并对此有所亏欠。
“现代”并不只是单纯具有“现代”二字的表面涵义。也就是说，它与我们过去的世代所依存的方式不同，是我们与过去的诀别。我们通过与明显不同于“过去”的全球化的相关性，把“现在”看成是高调的、永久化的机会。这种机会使我认识到，我们的作业有可能不会被历史理解。因此，我们反而更加执着于历史，因为它使我们认识到“在未来，过去并不如现在明确”。
AboutRyan Mitchell
2002年—2005年 于美国米苏拉蒙大拿大学取得美术学硕士学位
1998年—2001年 于美国米苏拉蒙大拿州立大学取得美术学学士学位
职业经历:
2010年 俄勒冈州约瑟LH项目常驻陶艺家
明尼苏达州 明尼阿波利斯市北部陶泥中心McKnight基金项目常驻陶艺家
2009年 参加国际三大城-中国北京、富平、桂林，柴烧节
中国北京黑桥艺术园常驻陶艺家
2008年—2009年 俄勒冈州约瑟LH项目常驻陶艺家
2007年 中国陕西富平富乐国际陶艺博物馆常驻陶艺家
中国北京乐陶苑常驻陶艺家
澳大利亚堪培拉国立大学常驻陶艺家
2007年 蒙大拿大学陶艺课程副教授
个人展：
2010年 北京XYZ画廊---玩在中国
2009年 2009年3月4月亚利桑那州菲尼克斯Bentley项目
2008年 11月 科罗拉多州丹佛Plinth画廊 ---- 幸福之谜第三卷
10月 怀特菲什蒙大拿州Jest画廊 ---- 幸福之谜第二卷
9月 华盛顿州斯波坎Kolva-Sullivan画廊 ----- 幸福之谜第一卷
7月 伊利诺伊州芝加哥西尔街艺术中心——中断意向
3月 蒙大拿州海伦娜 赫尔特艺术博物馆——乐观的振荡
团体展:
2010年 2010年国际陶艺邀请赛——艺术精神画廊 德阿莱爱达荷州
2008年 蒙特塞拉特艺术学院??----固定的混乱
科罗拉多州阿瓦达 国家教育理事陶艺区域展——大陆分水岭
中国西安文化艺术博物馆——柴烧陶艺
2007年 蒙大拿大学UC画廊——陶艺蒙大拿
蒙大拿波兹曼爱默生艺术文化中心——柴烧陶艺
2007年 中国北京798,XYZ画廊----在东方
2017年 京畿道韩国世界陶瓷双年展
发表物：
《瓦砾的诞生》 于2008年《陶瓷艺术与知觉》第72卷
获奖：
2007年 蒙大拿艺术委员会授予职业发展奖
2010年 获McKnight驻村基金
Work-1
Koreaand Chinaare similar inthe sense thatceramics is culture made manifest. Ceramics is culturally significant in Asiainaway that itis notin the west,thusly ceramics servesas aplatform or cultural dialogue, philosophy, diplomacy,and Soft-power influence aroundtheworld.
Ten years ago, I was invited to Chinaby Dr. Hsu Ichi curator for the Fule International ArtMuseums in Fuping.Hsu'sinvitationsled toseveralhundred artiststo China, throughout the 2000's.In turnIhavebeenresponsible for 70 artist invitations to Chinaas aresidency director. Dr. Hsu also inspired many Chinese academics, artists and civicleaders to work towards a more open and exchangingChina.
无论是韩国还是中国廉石传奇 ，都将陶艺看成是一种文化乐趣。与西欧不同，东方的陶艺是一种重要的文化要素。因此，在亚洲，陶艺可以成为与文化有关的讨论、哲学、外交等的根本，作为二种软实力(soft-power）来行使自身的影响力。
10年前，在富平某个美术馆教授Dr.Hsu Ichi的邀请下，我访问了中国。在他的介绍下欧布奥特曼原生之初，我得以接触到数百名在21世纪初积极开展美术活动的中国作家。接着在中国的“入驻作家项目”中，我负责邀请70名作家。Ichi教授在当时鼓励中国的学者、艺术家、市政领导能够以更加开放的姿态为中国积极开展交流工作。
In the 1970's the US Ping-Pong team traveledto play amatch against the Chinese Nationalteam. The simplicity of thisculture exchange was paramountto the transformation of global politics.The match led directly to he invitation of Nixon toChina and Deng Xiao Ping to the United States.
20世纪70年代，美国乒乓球队访问中国，与中国国家代表队进行比赛。这种单纯的文化、体育交流引起了全球政治局势的变化。这一乒乓球比赛促成了尼克森总统的访华和邓小平主席的访美。
Work-2
Global politics is in asuffering and miserable state of affairs, mostly led by insensitive巢邦网 ,buffoons,votedinto office by peopleWhom largely don’t haveinternational passports. Similarly,after 20 years of opening and liberalizing, Chinaclinches down and embracesliberal regression.
Working in the porcelain capital, I see more clearly nowThatporcelain is and has alwaysbeenlikethe ping-pang ball. Thewestlong ago adopted porcelain into its cultural identity and expression. Porcelain is aclearmanifestation of influence and cultural hybridization foundin globalization.Porcelain ultimately is about sensitivity, art is aboutlife, and this Gawongju eventis importantly aboutboth globalsensitivity and life.
在对国际关系不感兴趣的大众所选出的既麻木不仁而又愚蠢的政治人士(buffoons)面前，全球政治经常陷入困惑的境地。与此类似，在开放和自由化后，20年时光流逝，中国遭遇了自由主义的退步（liberal regression)。在陶瓷的发源地开展创作的我，觉得陶瓷就像乒乓球一样。水谷幸也西欧从很久以前起就把陶瓷作为一种展现文化认同性的手段。陶瓷明确体现了全球化过程中产生的影响和文化杂交(hybridization)现象。陶瓷最终体现的是艺术感受性(sensitivity)，而艺术体现的是生活。因此，本次陶瓷双年展所具有的重要涵义就是为国际感受性和生活发言。
The relationship between my artworks and cultural efforts are increasingly intertwined.The artsof Asia, the polities and socialrevolution found in Sen no’s over-throw of opulent Japanese tastes, theChinese literati who shunned the influence of imperial Chinese artists and writers. These were major influences in the development of my student years.
Whilecultural differencecertainlyremainsin theworld, the difference become less distinct each day.Simultaneously there isfascination of other cultures and anIncreasingdesire to have amoreconcrete self-understanding grasp of individual cultural identity. This is a complexphenomenon,sometimes this results in positive humanisticunderstanding,howeverincreasingly itresults in Political Populism, Right-wingnationalish. Fundamentalism, violence,destructionand terrorismwhenreacted toconservatively.
我的作品和文化方面的努力形成了一层更加紧密的关系。东方的艺术、从千利休对日本风格的颠覆中所发现的政治文化变革、想要摆脱帝国主义影响的中国文人、隐士的绘画中体现出的中国和日本传统、石涛的水墨画中展现的国际意识融合，以及中国艺术家和作家的流亡等，这些是在学习陶艺时对我的发展产生影响的主要因素。
虽然全球各国的文化均存在差异，但这种差异正在逐渐缩小。更多的人想要感受其他国家文化的魅力，同时也想要更好地理解本国文化。虽然这种混乱的现象有时可以使我们对人类作出更加肯定的理解，但却也会招致政治上的民粹主义(populism)、右翼民族主义、原理主义、暴力、破坏、恐怖主义等。
Work-3
After returning from my first trip to China, I noted how I had failed to find great quantitiesof Chinese historical. work as ihadseen in foreign museums. In the West, Itook note of the distinctdifferences in museum display, how historical artifacts weredisplayed, how they were boxedandlightedinrelationshiptothetrendsofthemorecommercialandtransitorycontemporaryartsthatfilled naturally lit open airyspaces. I noted the steel rods. which held up formerlytoppled sculpture and the scars dugintothe faces of massive stoneBuddhaheadsas they were chained and drug out of the ground by trucks, hauled off and at auction todealers.
在我结束首次中国旅行后观众网 ，我注意到自己主要游览了国外作品展馆，未能接触到中国的大量历史作品。在西欧国家停留时，我更加留意作品展示方式上的明显差异。即，历史文物是怎样展示的，以及与在户外自然光下展示的更具商业性的临时美术作品相比历史文物应该怎样做好保管和照明工作。我以前留意的是那些捆绑曾经捧倒的雕刻作品的铁丝，或是巨大的石雕佛像通过拍卖售出后从卡车上卸下来时出现的佛像面部的凹陷伤口。
Work-4
Nowovershadowedandnearlyforgotten.wastheMarch2001TalibandestructionoftheBamiyanBuddhasculptures inAfghanistan. Atthe time, I was struck how emotionally the world responded to their destruction. Iwastroubled over how somuch public emotion over simple carved stone poured out in contrast to the less publicized but will know Taliban killings of innocent people justshortlybefore.
Western idealization of Buddhism tends touphold both human compassion and de-emphasis of the materialworldas centraltenets. As artistswe aspire to elicitintellectual and emotion reaction from viewers, so for me this irony of hypocrisy seemed fertileartistic ground. It pushed the interest in materiality in my work. Itprompted me to poke around in sensitive areas if thatwaswhat it took to arrive something poignantand meaningful.
2001年3月塔利班炸毁巴米扬大佛这一事件几乎已经被人们遗忘。世界对塔利班的破坏行为所表现出的情感反应给我留下了很深的印象邵珮诗。大众对不久前发生的塔利班屠杀无辜的事件未表现出太大兴趣，却对单纯的石像破坏行为发泄情绪，这一现象给我带来了很大的苦闷。
西欧对于佛教的态度是理想化的，把它作为一种核心的教理，拥护怜惜人类和脱离物质世界的思想。我们作为艺术家，意图引导观者作出智慧的、感性的反应。对我来说，这种伪善的讽刺(irony of hypocrisy）就像一片肥沃的艺术土壤。因此，我开始对作品的物理性质产生兴趣，如果能到达某种辛辣而又有意义的境地，我就会投入到某一敏感的领域。
Most commercial buildings have abackside and afacade. Human interest and intentionalityis placed on the facade, and theremaining ports are often leftto dirtiness. weeds and decline. Society movesalong convincingitself the facade orveneer isreality, butin factit's the bock alley, the rood construction绝顶唐门 , urban demolition and reconstruction that makeup mostof inhabitedenvironmentand dailylife.
My first works out of university were focused on the concept of creatively producing chunks and rubble, masses of clay andporcelain out of context with utility and purpose. An exhibition at the time I called"The Birth of Rubble", it was meditation onhow and why rubble comes into the world. I defined Rubble is the excrement of obstinacy, it is the byproduct of the insistenceof a moss headed in one direction, be it a glacier, global capitalism, or a city determined to accomplish economic and urbandevelopment.
大部分商业建筑都拥有背面和正面。人类的关注和意图会被放在正面，其余的部分则被划分到衰退及俗陋之中。虽然社会想要使人们确信正面或外表即是现实缩阳症 ，但构成大部分居住环境或日常生活的却是小胡同、公路建设、拆迁和重建作业等。
上大学时，我的初期作品都离不开有用性和用途，我将创作的概念集中在制作团块、石堆、土块、陶瓷上。当时我展览的题目为《残骸的诞生》[The Birth of Rubble)，展现了残骸是怎样产生的，以及残骸为什么产生。我把“残骸”(rubble)定义为顽固的排泄物(例如，冰河、国际资本主义，以及追求经济发展和开发的城市)，或是仅想向一个方向前进的团块在固执下所产生的副产物。
For me, what is challenging as an artist is to avoid the temptation to beautify the work, to avoid thinking think that thepurpose of being an artist is to embellish the world, or stand in the center of the public eye as someone putting forth some kindof perfect offering. The challenge is to remain honest to human life and be reciprocal toward it, often I lose sight of this仙魔道典 , realizeit and hove to turn back. So there is a dialectic between these ends. Idealized art is rarely reflective of the roadway, the pathand the means which we situate ourselves day by day.
作为一名艺术家，我面临的挑战是要摆脱“必须把作品装饰得美观”这一诱惑，以及“艺术家的目的是装点世界井通过完美的作品来吸引大众关注”这一观念。这种挑战与人类的生命相互作用，我坦然地直面这种挑战伐天记 。然而，我有时也会忘记这一目标或是作出背叛。这种目标的实现就是一种辩证法。理想化的艺术并不会体现我们自身每天所依存的方法或手段。
Exhibition-1
I aspire to see what life is in the very moment, critically but with compassion. Beyond judgment, at a place where beautyemerges, despite decoy and disregard, despite brutality and dirtiness.
我渴望用怜悯之心去了解生活为何物，重要的事情是什么。在那个超越自身的判断，在那个衰败和蔑视、野蛮和污染之中绽放美丽的地方.....
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Ryan Mitchell | 瑞恩.米切尔
The world we inhabit fluctuates between moments of chaos，brute hostility and profound examples of care and beauty.Our efforts center on the preservation and protection of what we cherish and value. The implications of our effortsoften escape our grasp and intentions, it is for this reason, that as an artist I am interested in how we choose tohandle and engage the world we create and are given.Clay provides an opportunity to explore these relationships, both in the creative process and in terms of the final product. In any given event, clay can simultaneously be about both human intention and natural occurrence. It is amaterial through which we can understand the full spectrum of human history: both, creation, destruction and eventual decay. Metaphorically or literally, it serves to ground us, as well as record nearly every aspect of our existence. I tend to look for meaning and truth in residue and rubble of our daily world, rather than in the pursuit of our ideals. It is there that I see the need for coaxing beauty out of ugliness, and the choice for finding grace amidst vulnerability and uncertainty.
我们居住的世界是起伏在不安，粗鲁与关心，美丽间。我们的努力集中在保护及保留我们认为有价值及值得我们开心的事。但是我们常常力不及逮，因此，作为一个艺术家，我特别想知道如何能为我们的世界作些什么。陶艺为此提供了一个探讨的机会马尧海，这不但从陶艺的创作过程里或是从最终的作品里。在任何情形下，陶土是人类需要的也是自然存在的，它是一种材料，我们可以从它了解人类的历史，它的产生，创作宜丰吧 ，毁灭以及消失。它埋葬我们，同时又记录我们存在的每个细节。我常试在我们的日常生活的残余里寻找意义及真理，而不是展现我们的想法。从那里我看到如何从丑美里并存美，以及在不安及不肯定中如何选择寻找庄重。
京畿道陶瓷双年展出展作品
The Gawangju exhibition for the 2017 Biennale is titled Memory Reflecting on Life. The exhibition concept is well suited to thedevelopment of my practice. It is a simple fact that tombs were dug up, ultimately disrespected in the pursuit of meaning.
Synthetic and artificial archetypes drive our daily pursuits for success, health and happiness. We look for significance in theproducts of the past, yet undoubtedly many past aspirations were based on the some synthetic archetypes. In the end we findmostly only a place where beauty of our dreams and destructiveness of our drives coalesce.
京畿道光州举办了主题为《记忆：回望生命》(Memory Reflecting on Life)的展览，作为2017年京畿世界陶瓷双年展的一环。该展览的概念与我创作的进化过程非常相符。简单来说就是为了寻找涵义而挖开坟墓。
人工合成的典型(archetype)会引领我们追求日常生活的成功、健康、幸福等。虽然我们会为过去的产物赋予涵义，但毫无疑问的是，很多曾经的渴望均源于相同的合成典型迪拜人工岛。这就导致我们只能发现我们梦想中的美丽和欲求的破坏性结合之处。
So what does it mean for an artist to make works in relation to ancient artifacts?
Ancestors walked into the future facing forwards, they picked up tools and information along the way. With filial appreciationand respect they leftthe father at home with his accomplishments and built upon them. However in the modern era culturalnarrative and influence crisscrossed and something new happened. A crisis of cultural identity occurred. Now, in Asia, theheartland of America or the far reaches of any place you can find; there are debates and diatribes on the importance oftradition. Facing the past forlornly; half the world now marches into the future using their ass for navigation.
如此而言，创作出有关历史文物的作品，对艺术家来说具有何种涵义呢?
我们的祖先回望历史，走向未来。他们一边走，一边选择工具，获得信息。然而，在现代，文化叙事和影响相互交叉，诞生出全新的事物。这给文化认同性带来了危机。亚洲、美国中心，以及世界各地都在开展与传统的重要性有关的争论和批判。全世界依然有很多人悠然自得地直面历史，在航行中利用自身的感觉，走向未来苍之封印 。
To be contemporary isn't as simple as tradition versus newness. Both are subjected and beholden to the dictums ofcontemporaneity.
To be contemporary, isn't simply to be current; it is to recognize that we feel disconnected from our past in a way that pastgenerations did not. It is an awareness thatthe present is a momentum heightened and perpetuated by the interconnectednessof a globalization increasingly distinct from the past. Because of this momentum, we are aware that our projects and productswill not be understood in a historical sense. So, there is an irony : we latch on to the past and fetishize it, because we realizein future-the past will be less clear than it is now.
“现代”，并不像传统和创造之间的关系那样简单。传统或全新的创造都是同时代的名言(dictums)对象，并对此有所亏欠。
“现代”并不只是单纯具有“现代”二字的表面涵义。也就是说，它与我们过去的世代所依存的方式不同，是我们与过去的诀别。我们通过与明显不同于“过去”的全球化的相关性，把“现在”看成是高调的、永久化的机会。这种机会使我认识到，我们的作业有可能不会被历史理解。因此，我们反而更加执着于历史，因为它使我们认识到“在未来，过去并不如现在明确”。
AboutRyan Mitchell
2002年—2005年 于美国米苏拉蒙大拿大学取得美术学硕士学位
1998年—2001年 于美国米苏拉蒙大拿州立大学取得美术学学士学位
职业经历:
2010年 俄勒冈州约瑟LH项目常驻陶艺家
明尼苏达州 明尼阿波利斯市北部陶泥中心McKnight基金项目常驻陶艺家
2009年 参加国际三大城-中国北京、富平、桂林，柴烧节
中国北京黑桥艺术园常驻陶艺家
2008年—2009年 俄勒冈州约瑟LH项目常驻陶艺家
2007年 中国陕西富平富乐国际陶艺博物馆常驻陶艺家
中国北京乐陶苑常驻陶艺家
澳大利亚堪培拉国立大学常驻陶艺家
2007年 蒙大拿大学陶艺课程副教授
个人展：
2010年 北京XYZ画廊---玩在中国
2009年 2009年3月4月亚利桑那州菲尼克斯Bentley项目
2008年 11月 科罗拉多州丹佛Plinth画廊 ---- 幸福之谜第三卷
10月 怀特菲什蒙大拿州Jest画廊 ---- 幸福之谜第二卷
9月 华盛顿州斯波坎Kolva-Sullivan画廊 ----- 幸福之谜第一卷
7月 伊利诺伊州芝加哥西尔街艺术中心——中断意向
3月 蒙大拿州海伦娜 赫尔特艺术博物馆——乐观的振荡
团体展:
2010年 2010年国际陶艺邀请赛——艺术精神画廊 德阿莱爱达荷州
2008年 蒙特塞拉特艺术学院??----固定的混乱
科罗拉多州阿瓦达 国家教育理事陶艺区域展——大陆分水岭
中国西安文化艺术博物馆——柴烧陶艺
2007年 蒙大拿大学UC画廊——陶艺蒙大拿
蒙大拿波兹曼爱默生艺术文化中心——柴烧陶艺
2007年 中国北京798,XYZ画廊----在东方
2017年 京畿道韩国世界陶瓷双年展
发表物：
《瓦砾的诞生》 于2008年《陶瓷艺术与知觉》第72卷
获奖：
2007年 蒙大拿艺术委员会授予职业发展奖
2010年 获McKnight驻村基金
Work-1
Koreaand Chinaare similar inthe sense thatceramics is culture made manifest. Ceramics is culturally significant in Asiainaway that itis notin the west,thusly ceramics servesas aplatform or cultural dialogue, philosophy, diplomacy,and Soft-power influence aroundtheworld.
Ten years ago, I was invited to Chinaby Dr. Hsu Ichi curator for the Fule International ArtMuseums in Fuping.Hsu'sinvitationsled toseveralhundred artiststo China, throughout the 2000's.In turnIhavebeenresponsible for 70 artist invitations to Chinaas aresidency director. Dr. Hsu also inspired many Chinese academics, artists and civicleaders to work towards a more open and exchangingChina.
无论是韩国还是中国廉石传奇 ，都将陶艺看成是一种文化乐趣。与西欧不同，东方的陶艺是一种重要的文化要素。因此，在亚洲，陶艺可以成为与文化有关的讨论、哲学、外交等的根本，作为二种软实力(soft-power）来行使自身的影响力。
10年前，在富平某个美术馆教授Dr.Hsu Ichi的邀请下，我访问了中国。在他的介绍下欧布奥特曼原生之初，我得以接触到数百名在21世纪初积极开展美术活动的中国作家。接着在中国的“入驻作家项目”中，我负责邀请70名作家。Ichi教授在当时鼓励中国的学者、艺术家、市政领导能够以更加开放的姿态为中国积极开展交流工作。
In the 1970's the US Ping-Pong team traveledto play amatch against the Chinese Nationalteam. The simplicity of thisculture exchange was paramountto the transformation of global politics.The match led directly to he invitation of Nixon toChina and Deng Xiao Ping to the United States.
20世纪70年代，美国乒乓球队访问中国，与中国国家代表队进行比赛。这种单纯的文化、体育交流引起了全球政治局势的变化。这一乒乓球比赛促成了尼克森总统的访华和邓小平主席的访美。
Work-2
Global politics is in asuffering and miserable state of affairs, mostly led by insensitive巢邦网 ,buffoons,votedinto office by peopleWhom largely don’t haveinternational passports. Similarly,after 20 years of opening and liberalizing, Chinaclinches down and embracesliberal regression.
Working in the porcelain capital, I see more clearly nowThatporcelain is and has alwaysbeenlikethe ping-pang ball. Thewestlong ago adopted porcelain into its cultural identity and expression. Porcelain is aclearmanifestation of influence and cultural hybridization foundin globalization.Porcelain ultimately is about sensitivity, art is aboutlife, and this Gawongju eventis importantly aboutboth globalsensitivity and life.
在对国际关系不感兴趣的大众所选出的既麻木不仁而又愚蠢的政治人士(buffoons)面前，全球政治经常陷入困惑的境地。与此类似，在开放和自由化后，20年时光流逝，中国遭遇了自由主义的退步（liberal regression)。在陶瓷的发源地开展创作的我，觉得陶瓷就像乒乓球一样。水谷幸也西欧从很久以前起就把陶瓷作为一种展现文化认同性的手段。陶瓷明确体现了全球化过程中产生的影响和文化杂交(hybridization)现象。陶瓷最终体现的是艺术感受性(sensitivity)，而艺术体现的是生活。因此，本次陶瓷双年展所具有的重要涵义就是为国际感受性和生活发言。
The relationship between my artworks and cultural efforts are increasingly intertwined.The artsof Asia, the polities and socialrevolution found in Sen no’s over-throw of opulent Japanese tastes, theChinese literati who shunned the influence of imperial Chinese artists and writers. These were major influences in the development of my student years.
Whilecultural differencecertainlyremainsin theworld, the difference become less distinct each day.Simultaneously there isfascination of other cultures and anIncreasingdesire to have amoreconcrete self-understanding grasp of individual cultural identity. This is a complexphenomenon,sometimes this results in positive humanisticunderstanding,howeverincreasingly itresults in Political Populism, Right-wingnationalish. Fundamentalism, violence,destructionand terrorismwhenreacted toconservatively.
我的作品和文化方面的努力形成了一层更加紧密的关系。东方的艺术、从千利休对日本风格的颠覆中所发现的政治文化变革、想要摆脱帝国主义影响的中国文人、隐士的绘画中体现出的中国和日本传统、石涛的水墨画中展现的国际意识融合，以及中国艺术家和作家的流亡等，这些是在学习陶艺时对我的发展产生影响的主要因素。
虽然全球各国的文化均存在差异，但这种差异正在逐渐缩小。更多的人想要感受其他国家文化的魅力，同时也想要更好地理解本国文化。虽然这种混乱的现象有时可以使我们对人类作出更加肯定的理解，但却也会招致政治上的民粹主义(populism)、右翼民族主义、原理主义、暴力、破坏、恐怖主义等。
Work-3
After returning from my first trip to China, I noted how I had failed to find great quantitiesof Chinese historical. work as ihadseen in foreign museums. In the West, Itook note of the distinctdifferences in museum display, how historical artifacts weredisplayed, how they were boxedandlightedinrelationshiptothetrendsofthemorecommercialandtransitorycontemporaryartsthatfilled naturally lit open airyspaces. I noted the steel rods. which held up formerlytoppled sculpture and the scars dugintothe faces of massive stoneBuddhaheadsas they were chained and drug out of the ground by trucks, hauled off and at auction todealers.
在我结束首次中国旅行后观众网 ，我注意到自己主要游览了国外作品展馆，未能接触到中国的大量历史作品。在西欧国家停留时，我更加留意作品展示方式上的明显差异。即，历史文物是怎样展示的，以及与在户外自然光下展示的更具商业性的临时美术作品相比历史文物应该怎样做好保管和照明工作。我以前留意的是那些捆绑曾经捧倒的雕刻作品的铁丝，或是巨大的石雕佛像通过拍卖售出后从卡车上卸下来时出现的佛像面部的凹陷伤口。
Work-4
Nowovershadowedandnearlyforgotten.wastheMarch2001TalibandestructionoftheBamiyanBuddhasculptures inAfghanistan. Atthe time, I was struck how emotionally the world responded to their destruction. Iwastroubled over how somuch public emotion over simple carved stone poured out in contrast to the less publicized but will know Taliban killings of innocent people justshortlybefore.
Western idealization of Buddhism tends touphold both human compassion and de-emphasis of the materialworldas centraltenets. As artistswe aspire to elicitintellectual and emotion reaction from viewers, so for me this irony of hypocrisy seemed fertileartistic ground. It pushed the interest in materiality in my work. Itprompted me to poke around in sensitive areas if thatwaswhat it took to arrive something poignantand meaningful.
2001年3月塔利班炸毁巴米扬大佛这一事件几乎已经被人们遗忘。世界对塔利班的破坏行为所表现出的情感反应给我留下了很深的印象邵珮诗。大众对不久前发生的塔利班屠杀无辜的事件未表现出太大兴趣，却对单纯的石像破坏行为发泄情绪，这一现象给我带来了很大的苦闷。
西欧对于佛教的态度是理想化的，把它作为一种核心的教理，拥护怜惜人类和脱离物质世界的思想。我们作为艺术家，意图引导观者作出智慧的、感性的反应。对我来说，这种伪善的讽刺(irony of hypocrisy）就像一片肥沃的艺术土壤。因此，我开始对作品的物理性质产生兴趣，如果能到达某种辛辣而又有意义的境地，我就会投入到某一敏感的领域。
Most commercial buildings have abackside and afacade. Human interest and intentionalityis placed on the facade, and theremaining ports are often leftto dirtiness. weeds and decline. Society movesalong convincingitself the facade orveneer isreality, butin factit's the bock alley, the rood construction绝顶唐门 , urban demolition and reconstruction that makeup mostof inhabitedenvironmentand dailylife.
My first works out of university were focused on the concept of creatively producing chunks and rubble, masses of clay andporcelain out of context with utility and purpose. An exhibition at the time I called"The Birth of Rubble", it was meditation onhow and why rubble comes into the world. I defined Rubble is the excrement of obstinacy, it is the byproduct of the insistenceof a moss headed in one direction, be it a glacier, global capitalism, or a city determined to accomplish economic and urbandevelopment.
大部分商业建筑都拥有背面和正面。人类的关注和意图会被放在正面，其余的部分则被划分到衰退及俗陋之中。虽然社会想要使人们确信正面或外表即是现实缩阳症 ，但构成大部分居住环境或日常生活的却是小胡同、公路建设、拆迁和重建作业等。
上大学时，我的初期作品都离不开有用性和用途，我将创作的概念集中在制作团块、石堆、土块、陶瓷上。当时我展览的题目为《残骸的诞生》[The Birth of Rubble)，展现了残骸是怎样产生的，以及残骸为什么产生。我把“残骸”(rubble)定义为顽固的排泄物(例如，冰河、国际资本主义，以及追求经济发展和开发的城市)，或是仅想向一个方向前进的团块在固执下所产生的副产物。
For me, what is challenging as an artist is to avoid the temptation to beautify the work, to avoid thinking think that thepurpose of being an artist is to embellish the world, or stand in the center of the public eye as someone putting forth some kindof perfect offering. The challenge is to remain honest to human life and be reciprocal toward it, often I lose sight of this仙魔道典 , realizeit and hove to turn back. So there is a dialectic between these ends. Idealized art is rarely reflective of the roadway, the pathand the means which we situate ourselves day by day.
作为一名艺术家，我面临的挑战是要摆脱“必须把作品装饰得美观”这一诱惑，以及“艺术家的目的是装点世界井通过完美的作品来吸引大众关注”这一观念。这种挑战与人类的生命相互作用，我坦然地直面这种挑战伐天记 。然而，我有时也会忘记这一目标或是作出背叛。这种目标的实现就是一种辩证法。理想化的艺术并不会体现我们自身每天所依存的方法或手段。
Exhibition-1
I aspire to see what life is in the very moment, critically but with compassion. Beyond judgment, at a place where beautyemerges, despite decoy and disregard, despite brutality and dirtiness.
我渴望用怜悯之心去了解生活为何物，重要的事情是什么。在那个超越自身的判断，在那个衰败和蔑视、野蛮和污染之中绽放美丽的地方.....
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