《十常八九》楊淑儀當代陶藝作品展

《十常八九》楊淑儀當代陶藝作品展
Not a Bed of Roses – Contemporary Ceramics Exhibition by IEONG SOK I

展覽序言

楊淑儀是澳門科技大學人文藝術學院2008年成立后招收的第一屆澳門學生。執著藝術創作的她本科畢業后於2012年攻讀中國美術學院陶藝專業，碩士畢業之後返回澳門，在大學擔任文員的工作。儘管她苦惱日常性的行政服務工作佔據了她大部分的時間，無暇創作，但她一直積極尋求著一種將藝術和工作相補充和平衡的生活方式，以創辦個人陶藝工作室的方式繼續她的陶藝探索。在我印象里，楊淑儀是一位少言但勤於思考和嘗試的人。思考轉化為實踐，反復測試、調整。她的當代陶瓷藝術作品具有強烈的當代性審美特征，意象性的主題表達讓人更關注在手作陶瓷不同的成型工藝、泥性、釉色所共同形成的特殊材料美學。楊淑儀的陶藝作品無論從陶瓷材料、釉藥、成型方式，都充滿著藝術的實驗性和創新性。

常言道：“不如意之事，十常八九。此次展覽《十常八九》的主題正如藝術家自述所言：“我們一如既往地生活，儘管或大或小之事未能如我們所料般如期而至，唯有以十常八九的心態在磕磕碰碰中，自我消磨及接受這生命的韻律，從容處之。”此次展覽三個系列的陶藝作品無論從形式語言到精神性表述之間都存在關聯，體現著人生的恆常、必然以及常態化。

早慧的古人早已認識到「人生長勤」。藝術之路亦是長勤之路，堅持手作，會讓生命之路更寬，更多彩，以化藝境。

此次展覽展出的三個系列陶藝作品分別為<囚>、<蕩漾>和<九因歌>。<囚>系列作品表達了當下人們在各種生活壓力下，被學業、工作、家庭之名，壓迫成了一個個“有棱有角，捲縮的無助方塊”；<蕩漾>系列作品採用拉坯成型的工藝，利用陶土處於柔軟狀態下的形態模擬出樹葉捲曲的姿態，蟲子啃食的數個孔洞，揭示每片樹葉在掉落的那刻起就注定會慢慢衰敗的生命過程。<九因歌>系列作品以小時候背誦的<乘數表>（<九因歌>），「一一如一」、「二二如四」、「三三得九」命名，利用泥片折合成獨立個體，再以單數、複數相互組合，以此象征我們日常工作的狀態：如同背誦乘法口訣般重複並公式化地日復一日作業。

很高興能為昔日的學生，如今的青年藝術家楊淑儀撰寫此次展覽的序言。此時的我也從全職的大學工作轉向了社區的藝術管理工作，實踐藝術為生活（Art for life）的理念，希望藝術可和更多人的生活相關，人生長勤但多姿。給生活一抹亮色，讓心光明。

朋友們，當你無意間走進了創意園，看到了這個展覽的一件件作品。當你願意認真讀完藝術家的創作理念，我想，此生中我們已經和藝術相遇了，然後就會相知、相伴。

祝福所有熱愛藝術的朋友們都擁有可期、可盼、可愛的藝術人生。

策展人： 孟舒 博士
（瘋堂十號創意園藝術總監）
2022年5月寫於澳門

展覽簡介
由一陶手作主辦、望德堂區創意產業促進會、瘋堂十號創意園及澳門雕塑學會協辦，澳門基金會贊助、孟舒博士策展的《十常八九》楊淑儀當代陶藝作品展將瘋堂十號創意園C01及C02展覽室展出。（為配合特區政府當前的防疫工作， 瘋堂十號創意園暫停開放，藝術展覽順延舉辦。）
常言道：“不如意之事，十常八九。此次展覽《十常八九》的主題正如藝術家自述所言：“我們一如既往地生活，儘管或大或小之事未能如我們所料般如期而至，唯有以十常八九的心態在磕磕碰碰中，自我消磨及接受這生命的韻律，從容處之。”

展覽主要展出的三個系列陶藝作品分別為<囚>、<蕩漾>和<九因歌>，無論從形式語言到精神性表述之間都存在關聯，體現著人生的恆常、必然以及常態化。<囚>系列作品表達了當下人們在各種生活壓力下，被學業、工作、家庭之名，壓迫成了一個個“有棱有角，捲縮的無助方塊”；<蕩漾>系列作品採用拉坯成型的工藝，利用陶土處於柔軟狀態下的形態模擬出樹葉捲曲的姿態，蟲子啃食的數個孔洞，揭示每片樹葉在掉落的那刻起就注定會慢慢衰敗的生命過程。<九因歌>系列作品以小時候背誦的<乘數表>（九因歌），「一一如一」、「二二如四」、「三三得九」命名，利用泥片折合成獨立個體，再以單數、複數相互組合，以此象徵我們日常工作的狀態：如同背誦乘法口訣般重複並公式化地日復一日作業。

藝術家簡介
楊淑儀，1989年出生於澳門。2012年取得澳門科技大學工業設計學士學位；2017年取得中國美術學院陶瓷與工藝美術專業碩士學位；2019年創立「一陶手作」陶藝工作室；現從事行政工作。<囚>系列作品曾參展2017年日本,愛知縣亞洲當代陶藝交流展”、2017年澳門全藝社秋季沙龍展覽。

作品簡介

<囚>系列作品簡介：作品利用陶土與陶土間的擠壓手法，表達人們在各種生活壓力下，被名為學業、工作、家庭的框架，壓迫成一個個有棱有角，捲縮的無助方塊。

<蕩漾>作品簡介：作品通過拉坯成型，在陶土還處於柔軟狀態下，模擬葉子掉落後因缺水而捲曲的姿態，附以蟲子啃食的孔洞，揭示每片葉子在掉落的那刻起，就注定會慢慢衰敗。
<嘥·器>作品簡介：粵語“嘥”是浪費、糟蹋的意思。作品“嘥·器”是盛載著空氣的容器，音同粵語“嘥氣”，指浪費力氣，徒勞無功。

<九因歌>系列作品簡介：作品利用泥片折合成獨立個體，再以單數、複數的組合拼湊而成；以小時候背誦的乘數表（九因歌）的一一如一命名，意指我們日常工作的狀態，如同背誦乘法口訣般，重複並公式化地作業。

Preface

In 2008, the Faculty of Humanities and Arts of Macau University of Science and Technology was officially established and IEONG SOK I was among the first Macao students enrolled in that year, majoring in Art and Design. Dedicated to art creation, she went to China Academy of Art to pursue a master’s degree in Ceramic Art in 2012. After graduation, she returned to Macao and works as a administrative staff in a university. Although the day-to-day administrative work has occupied most of her time, still she has been actively seeking a way of life which complements and balances art and work. She founded a ceramic studio to continue her exploration of pottery. In my impression, IEONG SOK I is a person who speaks little but thinks and tries hard. She turns her thinking into practice and keeps testing and adjusting. Her ceramic art works have strong contemporary aesthetic characteristics, and her imagery theme expression makes people pay more attention to the special material aesthetics formed by different molding techniques, clay properties and glaze colors of hand-made ceramics. Her works are full of artistic experimentation and innovation in terms of ceramic materials, glazes, and molding.

As the saying goes, “Life means frustration eight or nine times out of ten.” It is not a bed of roses. Just as IEONG SOK I puts it, “We live our lives as always and the daily things fail to happen as we expected, but in the stumbling we could only live with a mentality of easiness to reach self-consumption, accept the rhythm of life and calmly deal with it.” The three series of ceramic works in this exhibition are related in terms of formal language and spiritual expression, which reflects the constancy, inevitability and normalization of life.

Our wise ancients have long realized that “Life is about diligence”. The same is true of art. In the road of art, diligence and persistence could help widen the road of life and make it more colorful hence transforming into the world of art.

This exhibition mainly exhibits her three series of works: Captivity, Popple and Multiplication Table. Captivity shows that people under various pressure are oppressed by frameworks called school, work and family into “helpless squares with edges and corners”. Popple adopts the moulding technique by pulling blanks, simulating the curling posture of the leaves fallen down and several holes eaten by insects while the clay is still in a soft state. It reveals that every leaf is destined to slowly decline from the moment it falls from the tree. The works in the series of Multiplication Table are named after the multiplication table (also called the song of Jiu Yin) that we studied as a child: 1×1=1, 2×2=4, 3×3=9, etc. Each piece of work is made of clay sheets and is combined in singular and plural forms. It refers to the state of our daily work which is like reciting the multiplication table, full of mechanical repetition.

It is delighted to write this preface for IEONG SOK I, who was once a student and now a young artist. At present, I have also shifted from the full-time work in university to community art management, practicing the concept of Art for Life. I hope more and more people’s life could be increasingly connected to art. Life is not easy and requires diligence, but it is as well colourful. Brighten it to fill your heart with light.

My friends, if by any chance you walk into 10 Fantasia, encounter the works of this exhibition and meanwhile you are willing to read through the artist’s creation concept, then I think, we, in this life have encountered art together, and we will know each other and be each other’s companionship.

To my friends who love art, wish you all have a promising and lovely art life.

Curator: Dr. Meng Shu ( Art Director of 10 Fantasia－A Creative Industries Incubator )

Exhibition Introduction
As the saying goes, “Life means frustration eight or nine times out of ten.” It is not a bed of roses. Just as IEONG SOK I puts it, “We live our lives as always and the daily things fail to happen as we expected, but in the stumbling we could only live with a mentality of easiness to reach self-consumption, accept the rhythm of life and calmly deal with it.”
This exhibition mainly exhibits her three series of works: Captivity, Popple and Multiplication Table. The three series of ceramic works in this exhibition are related in terms of formal language and spiritual expression, which reflects the constancy, inevitability and normalization of life.
Captivity shows that people under various pressure are oppressed by frameworks called school, work and family into “helpless squares with edges and corners”. Popple adopts the moulding technique by pulling blanks, simulating the curling posture of the leaves fallen down and several holes eaten by insects while the clay is still in a soft state. It reveals that every leaf is destined to slowly decline from the moment it falls from the tree. The works in the series of Multiplication Table are named after the multiplication table (also called the song of Jiu Yin) that we studied as a child: 1×1=1, 2×2=4, 3×3=9, etc. Each piece of work is made of clay sheets and is combined in singular and plural forms. It refers to the state of our daily work which is like reciting the multiplication table, full of mechanical repetition.

About Artist

IEONG SOK I, born in Macao in 1989, received her bachelor’s degree in Industrial Design from Macau University of Science and Technology in 2012. In 2017, she obtained her master’s degree in Ceramics and Crafts from China Academy of Art. In 2019, she founded the ceramic studio “Yitao Handmade”. Currently she is engaged in administrative work. Her series of works Captivity has been exhibited at the 2017 Asian Contemporary Ceramic Exhibition at Aichi Prefecture, Japan and the 2017 Macao AFA Autumn Salon.

展期：為配合特區政府當前的防疫工作， 瘋堂十號創意園暫停開放，藝術展覽順延舉辦。
展覽地點：瘋堂十號創意園 (澳門望德堂區瘋堂斜巷 10 號，C01及C02展覽室）