第七屆 臺灣國際「金壺獎」展覽回顧

尺寸：18 × 18 × 127 cm

Autumn Symphonyis an expression of desire, that the work shows the beginning of a differentday, where the Autumn projects a feeling of reflection.  not only in the artist but also in the viewerwho observes the teapot.

尺寸：23 × 15 × 26 cm

Erosion, layersof rock formations, fossils, dried riverbeds, knotty tree bark. The imprintof time on our environment. I perceive thesesurfaces with my eyes and hands,transform them in clay for my work on the potter’s wheel. Matt dry glazes, firedat hightemperatures finish off my work.My work is being characterized by a timelessbeauty, resulting from the tension betweena contemporary, personal approach and ancient formswith weathered surfaces. Theaddition of elements such as hand- sculptedbranches or steles, or the use of gold lustermakes every piece unique.

一組二件 尺寸：（壺）29 × 12 × 25 cm & （座）41 × 25 × 10 cm

物體也是由細胞形成組織形成物體，節由這個概念創作為起點，雕刻技法綴飾層疊之圖騰架構為組織符號。此作品圖騰也是個人喜好運用像風像花圖騰呈現季節變化，運用這些圖騰組織架構形成一個形體，溫暖沉著的色彩雕刻呈現整體的鮮明。

尺寸：20 × 14 × 18 cm

Lost in the cloud， or finding our true selver ? The ethereal vapor of spirituality has become virtual in ourcontemporary society … our prayers are responded to via email uploaded to theheavens. The question remains, what is our collective consciousness… sharedcontent, or downloaded viruses? 

尺寸：14 × 13 × 12 cm

As a geologistand a clay artist, I have developed an appreciation for the anomalies in themany forms of life, clay, rock, and soil covering the Earth’s landscape. I amintrigued by the way plants, animals and weather influence the Earth’s surface,by both erosional and depositional means. This fascination has become an integralpart of my art.    I am currentlythinking about these iterations as I make art. Since these fragmented andgeomorphic shapes are repeatedly subdivided into parts, each a smaller copy ofthe whole, I'm compelled to use self similarity, iteration and subsequenttextures which in turn allows me to interpret nature for the viewer andmyself: hopefully with both of us seeing the natural world differentlyafter spending time with my work.

尺寸：16 × 9 × 10 cm

hands in thesame clay, transforming raw rocks and ashes into poetry ...’Ariane’s work isexhibited world-wide and is in many private and public collections in placesranging from Taiwan to the USA, Turkey, Singapore, Thailand, China, Paris,Brussels and throughout Europe, as well as the Forbidden City, Beijing…Open to theworld, Ariane also travels around the world for lectures, symposiums andworkshops, and is leader of the professional ceramics school founded by herfather and Master 40 years ago.

尺寸：28 × 10 × 18 cm

We drink a lotof tea in the West but we don’t really have a ceremony as such like you do inChina and Japan. With this teapot I want to make a celebration of tea! Thiswould be the teapot to use if the king or queen would come round for tea! Iwanted te make something extravagent and royal with these gold jewel-likeballs.

尺寸：33 × 7 × 37 cm

The traditionaltea rituals are called “He Jing Yi Zhen” signifying peace, quiet, enjoyment andtruth. It involves elaborate preparations in creating the right ambience forthe body, mind and sout to bring about serenity , grace and harmony.   “BlissfulHarmony” creates this atmosphere by bringing together various shapes andcolours which complement and balance each other. A blissful world united by loveand peace where all the different elements co-exist in total harmony.

一組二件 尺寸：(壺) 16 × 12 × 19 cm & (座) 19 × 12 × 10 cm

極地如何有温暖(只有愛)，愛能突破所有困境，南極企鵝代表母輝。作品以極地之冷概念設計茶器。企鵝母愛所發揮真性流露之愛，千里回歸時能順利找回自己所愛，溫暖三餐母子共享溫暖天倫，有分分合合之意念。

尺寸：15 × 9 × 9 cm

窯火藏與藝   研釉藏與巧用意不用力   完美不完美天目釉 窯火的藝術---天目釉是傳自宋代黑釉—黑釉的世界從古至今一直披著神秘的面紗，世界各國的博物館都藏有宋代黑釉的茶碗，其色澤花紋有些至今都未能破解。天目釉~神秘的黑釉以純鐵單掛釉的燒藝在窯火與藝術淬煉下---- 有黑 柿 紅 橙 黃 綠 藍 靛 紫 金 銀 彩等----窯火的工藝（燒藝）⋯無形無色無像。是陶瓷工藝技術裡面最難到達的境界！窯火在1300度的高溫淬煉下，任何人都無法探知窯裏的變化，看見的只是窯內火熱耀眼的光芒。能掌握窯燒的穩定，不一定能掌握窯燒的變化，曜變黃金天目釉就是在掌握窯憢變化裡發現的神秘新色彩⋯！
我在敗招中求勝⋯
放下傳統天目的燒法⋯改變、改變意味著你要接受失敗！一次又一次的失敗！這一切只因為我願意接受失敗！在不斷地失敗當中找到一點點不一樣，再將一點點的不一樣匯集成我獨有的（窯火  藝術）。

尺寸：17 × 8 × 16 cm

「鳳之象也，鴻前麟後，鸛顙鴛腮，龍文龜背，燕頷雞啄，五色備舉」《說文》         使壺如翔，騰氣生瑞，鳴鳯吐水，開闔生趣。

一組二件 尺寸：(壺) 18 × 12 × 22 cm & (杯) 8 × 7 × 4 cm

即興發揮，保留人為加工的痕跡，追求工巧與泥味碰撞，規則塊面與不規則塊面的釉色對比，喜歡重複厚重端莊的形式感，它不一定實用，它只是一種嘗試，一種可能，,取決於觀者所見即所得。

一組四件 尺寸：(茶壺) 19 × 9 × 12 cm & (座) 8 × 7 × 4 cm &
(開屏) 35 × 6 × 29 cm & (屏座) 13 × 6 × 6 cm

孔雀為百鳥之王，其冠翎及開屏之尾羽，使其在眾鳥之中與眾不同。在行茶時，取下開屏之羽尾平放成為壺托，亦可倒立做為花器之用，是為一物三用。孔雀羽色鮮豔，以藍、綠色為基調搭配金色增添其華麗感。

一組八件 尺寸：(壺) 14 × 9 × 9 cm & (壺承) 18 × 17 × 3 cm &
(杯) 6 × 6 × 4 cm

選ぷ  楽しみ
使ぅ  楽しみ
收納も  心地ょく

一組五件 尺寸：(A) 24 × 11 × 10 cm & (B) 27 × 12 × 14 cm &
(C) 15 × 9 × 20 cm & (底) 81 × 30 × 1 cm & (配件) 4 × 4 × 32 cm

一湖荷蓮，
一壺茶香。
倒影荷花池，伴隨幼時遊憩時光，
是印象。
鳴蛙綠水塘，打斷想睡惱人午後，
是迴響。
揮之不去的，不是尋常的蓮花荷畔，只是心中一畝小回憶，把它化成茶香，常相隨。

尺寸：26 × 8 × 17 cm

本年九月份適從埃及旅遊歸來，途中古文明的瑰寶與世界奇蹟已深刻撼動余之惠心，故以該文化代表符號的荷魯斯全知之眼作為表現主體，金字塔形象成整體的穩固支撐，並結合東方形容宇宙萬物的五行觀念作為呼應，以木、火、土、金、水各元素彙集成壺。

尺寸：14 × 10 × 17 cm

Teapot as sculpturalobject .

尺寸：13 × 10 × 20 cm

Shape with manyelements which can be stacked like a puzzle, natural looks like texture, simpleand utilitarian purpose, tea which can fill every vessel - all of these i finda single teapot.

一組二件 尺寸：(壺) 20 × 14 × 13 cm & (杯) 11 × 9 × 9 cm

My mixedheritage of Hungarian and German influences my artwork in pottery.  In creation of teaware I apply thetraditional hand pulled, German handle as strap handles. The idea is to make the handling comfortable and make theuser utilize both hands and surrounds the teapot with a caressing gesture whileusing it. The exceptional beauty of pouring tea increases. Adding to this thehandeling is important to me, to keep the handle cold, the handle is hollowedout.
The surface ofthe teapot is influenced by the fire, which also touched my life from earlychildhood on. The catching fire of the agricultural building of my family inTransylvania gave me a shock and remained as an unbreakable fascination for thefire. To control the firing process is at object time processing this feelingof fire being an uncontrollable danger in my life.

尺寸：17 × 11 × 12 cm

Theidea of “Little golden thing”
small goldteapot found in some antique shop.
Although there are cracks and fight him in places faded, he still brings backmemories of some past times when it was preparing tea.

尺寸：18 × 8 × 17 cm

在五行概念中，黑色與黃色亦同指為天地之色。壺體以鐵黑天目釉色為『天』、爆裂質感的黃土陶胎為『地』，天地相合並以簡約曲線的壺形與圓，融合詮釋出現代與傳統的結合。『生活有文化、思維有藝術』，在宋代的天目油滴釉色形成一種裝飾性很強的藝術釉。其釉色的多變性與呈現出多彩的微晶，給人們一種返璞歸真、渾然天成之感。鐵釉與茶文化自古就有早以分不開的關連性，單鐵天目釉帶有不規則圓的曜變鷓鴣斑點，在不同光線下射出不同色彩的光芒，暗孕出世間所有的顏色在其內，體現出傳統工藝哲學中對天地、自然的讚美。

尺寸：21 × 14 × 12 cm

작품의 모티브는 항아리입니다. 주전자손장이와 물재가 항아리모양으로 이어저있고 그안에자연물인 맞음 그리며형아리선 안쪽의 느김과그선을넘어가는순간부터 다른 느낌으로표현하는 이것은 넓게는모든 사물이나세계가 보여주는양면성 또는우리들 마음속에 부정적이거나긍정적인 에너지들이 외적으로어떻게 피어나는지에 대한마음을 나타내고자 했습니다.

一組二件 尺寸：(壺) 24 × 12 × 17 cm & (座) 14 × 10 × 5 cm

把種植盆栽的概念，放在製壺的創作上。壺身為盆，樹在壺上增加觀賞性。

一組二件 尺寸：(壺) 14 × 9 × 14 cm & (座) 14 × 14 × 12 cm

變通的理念
權然後知輕重，度然後知長短
因自然或人為的推擠壓迫，用盡力氣不讓自身位移變形
支撐的底部協調安靜的平面，使整個畫面安定下來，無矛盾對立

尺寸：12 × 8 × 10 cm

陶壺製作双層，再做蝕刻效果，嘗試表現青銅腐蝕的效果。

尺寸：13 × 9 × 8 cm

葵瓣表面的筋紋與身上凹凸有的曲線，一直是我在創作上鍾情的題材。壺鈕與壺把以老舊與斑斕的質感來表達，降紅描繪於壺身上的色調，隠約透露作者將時間流逝的輕嘆移轉，敍述著濃厚的情感與歲月的痕跡。

尺寸：15 × 9 × 10 cm

冬天的岩陶覆蓋了一層白雪，附予這把壺創作理念。

尺寸：9 × 9 × 9 cm

作者喜歡蛙類，尤其以手捏青蛙為，平常喜歡把手捏青蛙黏在作品上，盆栽界的樹盆都會黏接青蛙，稱小林蛙雄盆，自然而然的在製作茶具時，也會想把青蛙運用在茶具上，這次以手捏青蛙為壺的側把，希望除了泡茶之外能夠增加泡茶，喝茶的趣味。

尺寸：14 × 11 × 10 cm

本件作品創作建立在滿足使用需求的架構上，整體造形不脫傳統壺形，在這架構上增加美感創作，壺身以透雕雲紋方式呈現空間感，而雲紋自古一直受人們所喜愛，象徵高升和如意，壺蓋上搭配青瓷釉，意喻青雲直上、平步青雲。

尺寸：12 × 8 × 8 cm

荔枝四季長青
欣欣向榮
昌盛不衰
象徵如意吉祥
健康長壽
事業大展
前途無量
利市大開
鴻運滿堂

尺寸：18 × 10 × 14 cm

中國繪畫常存在文人畫和學院畫風優劣之爭，學院有其精確與傳承，但文人的灑脫才是我追求的心靈自由奔放的意境。
王時敏是明末清初畫家，此山水是模坊其畫作。

尺寸：8 × 12 × 7 cm

此件作品為表現出素雅、木納、青翠的野草在初春的風情，特以金壺身掛薄青瓷入柴窯燒製出壺的靈魂。

尺寸：11 × 8 × 11 cm