雨化，脸庞
The rain, the face
Clay, video, found objects, etc.
Dimensions variable
2024
谈到景德镇陶瓷产业，我们长期将注意力聚焦到非遗传承人、大师、景漂艺术家等角色上，而生产流水线中从事挖泥、炼泥、翻模的工人常常游离在我们的视线外。作品通过对景德镇相关工人群体的采访，观察这一“近在咫尺”的艺术关系。首先运用社会学调研方法，剖析这一群体的真实境况，通过对谈了解他们的生活实景和精神所依；其次运用参与式共创方式，邀请工人群体创作一个同他们具有情感连接的某种“肖像”，跨越隔离他们的
“技术步骤”，回到审美实践中探讨他们对生活和生命的解释。
大部分工人在以前从未尝试过陶艺制作，在最初很多人都因为自己并不会陶艺或雕塑而拒绝，但当他们进行初次肖像创作时，我们也看到了他们流露出来的投入创作中的短暂快乐与享受。之后，他们都重新回归于日常忙碌的工作之中。
最终，这些肖像也将被自然中的雨水摩灭掉表面的特征，他们在上面留下的签名也同样变得难以识别。
When discussing Jingdezhen's ceramics industry, our attention has long been focused on intangible cultural heritage inheritors, masters, and Jingdezhen-based artists, while the workers engaged in tasks such as digging clay, refining clay, and mould-turning on the production lines often remain outside our field of vision. This work examines the artistic relationship that exists ‘within arm's reach’ through interviews with relevant worker groups in Jingdezhen. First, employing sociological research methods, we dissected the authentic circumstances of this group, uncovering their lived realities and spiritual anchors through dialogue. Subsequently, adopting a participatory co-creation approach, we invited the workers to craft a form of ‘portrait’ emotionally connected to them. This transcended the isolating ‘technical steps’ of their labour, returning to aesthetic practice to explore their interpretations of life and existence.
Most workers had never attempted ceramic production before. Initially, many declined, citing their lack of skill in pottery or sculpture. Yet during their first portrait creations, we witnessed fleeting moments of joy and immersion in the process. Subsequently, they returned to their daily labours. Ultimately, these portraits will be eroded by rain, their surface features worn away. The signatures they left upon them will likewise become indistinguishable.