作品 Work 

个人 About

  2015年春天，我独自来到景德镇，找了个几平米的单间作为工作室，购置简单的设备，开始了第一年所谓的自由艺术家生活。

        这个工作室，并不是那种在朋友圈里流传的被花木簇拥堆满书籍画稿的大屋子。虽不是主干道，汽车却在离我几米远处来回行驶。抬头越过窗，几乎每天可以欣赏对面的家长打孩子。孩子哭累了，就对窗户里这个他们不知道在捣鼓什么的怪姐姐产生兴趣，于是躲在窗下丢来纸团，进而用水枪瞄准我，一脸坏笑。

        住处离工作室十分钟脚程，我的生活就往返于两点间，自己安排作息，除了偶尔外出会友，大部分时间只自己一个人。景德镇空气很好，在住处可以望见不远处的山。晴天高空中挂上大把云朵，随风变幻，到下晚印上夕阳，煞是好看。雨天山间云腾雾绕，听着雨声看风景，可以心安理得借故旷工。渐渐习惯了独处，也安于独处，这样的生活听不见太多人语欢笑，却并不忧伤。

        可能是因为与人群的疏离，内心更亲近自然，也想在创作中表现自然，因而选择了釉画的形式。和釉彩打交道，发现每一种釉彩都有各自的性格，有的粗糙像山石，有的轻盈如云水。我把经挑选的釉彩安排组合，让其自然发生联系。进窑前，我并不知道它们在火中将会变成什么样子，只能一边凭想象揣测，一边祈祷，忐忑不安。久了，越来越熟悉釉彩，便逐渐削弱主观愿望而让釉彩自身成为主体，不刻意描绘某个具体形象，任其在画中按自己的意愿行动，这样烧制出的釉彩更为自然，有时会有惊喜的效果。

        就这样我从夏天做到冬天，看画面，似乎也有从粗糙热烈到清冷安静的变化。画画也是画心吧。

小 草

2016.5

In the spring of 2015, I came to Jingdezhen alone. I found a space only a few square meters to be my studio, bought only the necessary equipment, and started my first year as a so-called independent artist.

My studio is not the kind of place surrounded by flowers and trees, crammed with books and paintings, that highly trends social media networks; and although it’s not located on the main road, the cars driving by are only a few meters away from me. Looking out the window I can see the house opposite me, almost every day the parents punish their kids. When they get tired of crying, they become interested in this strange sister in the window whom they don't know what she is doing. Then they hide under the window throwing paper wads, they sometimes even aim their water gun at me with suspicious smiles.

I live just a ten minute walk from my studio, and my life goes back and forth between the two. I set my own schedule, sometimes I occasionally go out with friends, but mostly spend my time alone. The air in Jingdezhen is very good, from my apartment I can see the mountains nearby. Clouds hang in the clear sky changing direction with the wind. It becomes even more wonderful in the setting sun. On rainy days, I listen to the sound of the rain, and watch the fog in the mountains; I have a good excuse for my absenteeism. In getting used to being alone, I am also contented in being alone. Leading this lifestyle, I don’t hear too many people expressing envy, but I’m not lonely.

Perhaps it’s because of my natural inclination away to be away from the crowd that allows my heart to become closer to nature. I want to express the feeling I get from nature in my creations; I express it in the form of glaze painting. I have gotten to know many glazes, discovering that each glaze has its own character: some are rough like rocks, others smooth like flowing water. As I arrange the selected glazes together, I allow their inherent characteristics to create the connections between them. Before firing the kiln, I don't know how they will change in the fire, but I can only imagine and pray to ease my worries. As I get more and more familiar with the glazes, I lose my subjective desires, however the glazes take control, allowing their natural characteristics to show through, deliberately not depicting a specific image. In this way, sometimes I am pleasently surprised at the amazing paintings come out.

I work from summer through to winter and looking at my paintings they seem to mirror the atmospheric changes from glowing warmth to the cooling calm. To paint is to paint oneself.

Xiaocao