2024/2025 Scholarships

其他說明:

I have been exploring "recording" as a central theme in my ceramic practice. Before written language existed, people used ropes and knots as primitive tools to store memory and transmit information. I use thread in my work both as a tool and material to trace memory and physically record it on the ceramic surface. Wrapping thread around a clay body becomes an act of "recording." Once fired, ceramics become inorganic and semi-permanent—qualities that make them compelling for preserving traces of time and thought. I have been working with a decorative technique known as makishibari, which I have adapted into my own visual language. The process, simply put, involves layering glaze onto an unglazed form, applying soft clay or slip on top, and then wrapping wet thread around the piece while the surface is still moist. As the thread compresses the soft material, the flow of the clay and the marks are recorded, creating patterns with movement and texture. This unconventional layering often causes shrinkage and cracking. It reflects a collaboration between myself and the material, shaped through its interaction with the environment.