쉬용쉬(徐永旭, Hsu Yunghsu, b. 1955)는 몸을 창조적인 도구로 여기며, 도예에 전념하고 있다. 그는 몸과 작품 사이의 대화를 강조하고, 작품의 주체를 몸과 통합하여 점토와 대면시킨다. 그의 작품은 흙 기반의 구조 내에서 촉각 및 운동 감각뿐만 아니라 세계와 그의 인식 사이의 상호 작용을 기반으로 만들어진다.. 가장 순수하고 훌륭한 도예 작품을 만들기 위해 작가는 복잡하고 힘든 제작 과정을 채택했을 뿐만 아니라, 가마에서 구워내는 데 있어서도 뛰어난 기술을 발휘한다. 끊임없는 해체와 재구성의 과정을 통해, 그는 무거운 흙을 섬세한 선과 모양으로 성공적으로 변형시킨다. 그의 경외심을 불러일으키는, 매우 “크고” “얇은” 도예 작품과 혁신의 매력은 모두 이러한 신선한 대비의 결과이다. “삶을 통해 삶을 초월하고, 예술 창작을 통해 예술 창작을 초월하고, 그리고 마지막으로 예술 창작을 통해 삶을 초월한다"는 그의 삶의 철학에 따라, 작가는 삶과 예술 창작의 경계를 초월할 수 있을 것으로 기대하면서 끊임없이 자신에게 도전한다.
작가는 자신의 작품에 자신의 모든 자의식, 신체, 삶을 깊이 담아낸다. 그의 작품은 각각 끊임없는 유동성과 반복, 축적이라는 복잡한 과정을 거쳐 만들어진다. 작가는 자신의 생물학적 본능을 이용해 물질을 물리적으로 변형시켜 “동굴”과 “구멍”으로 엮어 겹쳐 놓는다. 작가의 몸에서 태어난 이 동굴과 구멍은 본능적인 충동에 저항하려 애쓰지만, 결국 신성한 크로노스 영역에서 아이온 영역으로 흘러 들어가는 공간을 만들어 낸다. 작가의 관점에서 볼 때, 삶과 존재의 감각보다 더 진실한 것은 없다. 작가는 두 요소를 통해 감각을 보여준다. 그는 절대적인 신체적, 자발적 행동의 힘으로 자신의 살아있는 경험을 적용하여 원래 무겁던 도자기 흙을 섬세한 도예 작품으로 변형시킨다. 작품은 확산과 확장의 상태에 있는 것처럼 보인다. 작품은 동시에 부분이자 전체이고, 연관되어 있지만 분해되어 있으며, 분열되어 있지만 연결되어 있다. 작품은 자연스러운 욕망의 번영을 반영할 뿐만 아니라 갑작스럽고 극적인 창의력의 급증을 표상한다.
Treating the body as a creative tool, the artist devotes himself entirely to the field of ceramic art. He emphasizes the dialogue between the body and his artworks and confronts the clay by integrating the subject with the body. His artworks are created based on the interplay between the world and his perception as well as tactile and algetic senses within the clay-based structure. To create the purest and finest ceramic artworks, the artist not only adopted complex and painstaking procedures of production, but also exercised his superior skill in kilning. Through the constant process of deconstruction and reconstruction, he successfully transformed the heavy clay into delicate lines and shapes. His awe-inspiring, extraordinarily “large” but “thin” ceramic works, along with their charm of innovation, all resulted from such a refreshing contrast. Following his philosophy of life, that is, “transcending life through life, transcending artistic creation through artistic creation, and finally transcending life through artistic creation,” the artist keeps challenging himself, expecting to transcend the confines of life and artistic creation.
The artist embedded his whole self-consciousness, body, and life deeply in his works. Each piece of his works is created under the complex procedures of constant fluidity, repetition, and accumulation. The artist physically transformed the materials, using his own biological instinct to interweave and superimpose them into “nests” and “apertures.” Born from the artist’s body, these nests and apertures tried in vain to resist their instinctive drive, and therefore created the spaces that drift from the divine realm of Chronos to that of Aion. As far as the artist is concerned, nothing is more genuine than the senses of life and existence. The artist exemplifies the senses with the two exhibited works. By virtue of absolute corporeal and spontaneous actions, he applied his living experiences to transforming the originally heavy porcelain clay into his delicate ceramic artworks. They seem to be in a state of proliferation and sprawling. They are simultaneously the parts and the whole, associated yet decomposed, and fractured yet connected. They not only reflect the thriving of natural desires, but also symbolize the sudden and dramatic surge of creativity.
Treating the body as a creative tool, the artist devotes himself entirely to the field of ceramic art. He emphasizes the dialogue between the body and his artworks and confronts the clay by integrating the subject with the body. His artworks are created based on the interplay between the world and his perception as well as tactile and algetic senses within the clay-based structure. To create the purest and finest ceramic artworks, the artist not only adopted complex and painstaking procedures of production, but also exercised his superior skill in kilning. Through the constant process of deconstruction and reconstruction, he successfully transformed the heavy clay into delicate lines and shapes. His awe-inspiring, extraordinarily “large” but “thin” ceramic works, along with their charm of innovation, all resulted from such a refreshing contrast. Following his philosophy of life, that is, “transcending life through life, transcending artistic creation through artistic creation, and finally transcending life through artistic creation,” the artist keeps challenging himself, expecting to transcend the confines of life and artistic creation.
The artist embedded his whole self-consciousness, body, and life deeply in his works. Each piece of his works is created under the complex procedures of constant fluidity, repetition, and accumulation. The artist physically transformed the materials, using his own biological instinct to interweave and superimpose them into “nests” and “apertures.” Born from the artist’s body, these nests and apertures tried in vain to resist their instinctive drive, and therefore created the spaces that drift from the divine realm of Chronos to that of Aion. As far as the artist is concerned, nothing is more genuine than the senses of life and existence. The artist exemplifies the senses with the two exhibited works. By virtue of absolute corporeal and spontaneous actions, he applied his living experiences to transforming the originally heavy porcelain clay into his delicate ceramic artworks. They seem to be in a state of proliferation and sprawling. They are simultaneously the parts and the whole, associated yet decomposed, and fractured yet connected. They not only reflect the thriving of natural desires, but also symbolize the sudden and dramatic surge of creativity.
