之间

这个展览呈现生活在杭州的陶作者蓝天一段时期的创作和思考。他做的是比较接近宋代形制的器皿，做偏传统器物的优势在于，传统的东西那么多年流传下来，它的形式感已经过了时代审美的历练，并不让人感觉突兀。

以个人喜好来说，他偏爱制作中的痕迹感，比如拉坯的时候手留下的痕迹，比如刻花、印花的时候留下的痕迹……各种痕迹会让器皿变得丰富，而痕迹又需要用收敛的方式来变得含蓄。

他更喜欢稍带一点露胎，带一点杂质的东西，有嚼劲，但不能过分。另外相比哑光，他也更喜欢有些光泽的釉面。有这些制作中的痕迹，它并不是单调的干干净净的，传递出来的精神感受会不一样。

中国的陶瓷历史博大精深，我期待看见蓝天某一天能够突破形式，在他掌握的陶艺语言里，生长出更多内容。

In-between

This exhibition explores the work and thoughts of the potter (ceramic artist) Lantian, who lives and works in Hangzhou, over a period of time. The shape and form of his work are based on utensils from the Song dynasty. The advantage of using traditional form is that its aesthetic has already been tested over time and reached a wide acceptance.

Lantian personally favors marks created during the making process, such as traces of the hand left from the throwing process, or from the engraving or printing procedure. These traces give more character to the utensil, although it is still presented in a reserved manner to appear restrained.

Lantian endows his work with a bit of “Guatai”[1]and impurities. It adds a bit of character to the work without overwhelming its overall presence. He prefers to finish with a slightly glossy glaze as opposed to a matt surface. With these traces of the production process intact, the object conveys a different psychological impact on the viewer rather than just being simply minimal.

The long history of Chinese Ceramics has made it versatile and refined. I’m looking forward to the day when Lantian can grow beyond the traditional form, and create more meaning with his own language of pottery.

[1]‘Guatai’ is the unglazed part of the porcelain, or the parts of the clay that is exposed when pouring the glaze over.