2021年5月，陶溪川·景德镇国际工作室邀请到捷克华裔艺术家 张丹，在景德镇开展了为期三个月的驻地创作。期间，还邀请艺术家举行了以《溢彩流光——捷克玻璃艺术巡旅》为题的精彩讲座，点击蓝字链接扫描二维码回顾讲座内容。

独立艺术家，张丹 Dan Zhang Gajdosova

华裔捷克艺术家，张丹，出生于艺术世家，毕业于中央美术学院，1992年移居捷克布拉格，常年活跃于中欧各国。她擅长运用绘画的艺术形式进行自我表达，曾在欧洲（捷克、斯洛伐克和德国）数次举办个展并出版插画集。同时，张丹也积极促进中捷两国的文化交流，多次带领双边玻璃代表团进行互访。

她曾于2020年秋首次参与陶溪川·景德镇国际工作室驻留项目。在第一次驻场期间她很快适应了新的材料和创作方式，将泥浆与釉料进行巧妙结合。本次驻场，张丹拓宽了她对材料和创作形式的探索，并建立起独特的个人表达。依托陶瓷材料为媒介，艺术家挥洒着她丰沛的创作激情，抒发了她的艺术感知力与对陶瓷材料的独到见解。

 记忆容器

Memory Container

在景德镇国际工作室作驻场艺术家三个月，我的日日夜夜、点点滴滴都“收纳” 在我双手塑造出的这些亦方亦圆的陶瓷容器内：有记忆，有思绪，有情感，有时间的印记，有能量的聚集和劳作的汗水⋯⋯也有我的梦境与现实。

After three months working day and night as a resident artist in Jingdezhen International Studio, bit by bit everything became ‘stored’ in these square and round porcelain containers shaped by my hands: the memories, thoughts, emotions, time marks, energy and sweat from hard work ... also my dreams and reality. 

相会 Meeting, 2021

我从小就喜欢触摸泥土的感觉，有种踏实由然而生。

Since I was a child I liked the feeling of touching the soil. There was a kind of steadfast peace which came to my heart. 

陶瓷的烧制过程把泥巴升华了，成为手中把玩、眼中欣赏的艺术，甚至成为一种精神的化身。

The firing process of ceramics sublimates the clay, becomes the utensil in the hands, the art in the eyes, and even becomes the embodiment of a spirit. 

蓝调 Blue, 2021

我手里揉捏着柔韧的黏土，跳入脑海的是林林总总的房子：我在远方的、曾经的“家”；我走过、路过、住过的屋；眼前正在拆除、重建的景德镇的建筑⋯⋯

With clay in my hands the scenery of houses jumped into my mind: the home where I used to live far away; the houses I have seen and passed; the buildings in Jingdezhen under demolition and reconstruction… 

于是我开始塑，就像在搭房子：压好的泥片通过造形，拼接，穿插，磊砌，黏合⋯⋯让泥片彼此产生关联、倚靠以及结构上的支撑，以达到平衡；我再用钻孔、镂空、切割等手段，打破它的完整性。在反复的“破”与“立”、“增”与“减”的过程中塑造出我心目中的形、态。

Then I start to shape the pressed clay slices interspersed and bonded so that the clay slices can be related to each other, stand on each other and support each other structurally, so as to achieve balance; I used drilling, hollowing out and cutting to break its integrity. In the process of repeated ‘breaking’ and ‘establishing’, ‘increasing’ and ‘decreasing’, I made my ideal shape. 

三棱塔 Triangular, 2021

景德镇的镶器是用泥板合成、用以陈设的异形艺术瓷器。我把泥片自由变形、组合，用镶器的制作工艺塑造容器，打破了传统镶器的刻板。

The ‘Xiang Qi’ in Jingdezhen are specially shaped artistic porcelain synthesized from clay pieces and used for display. I freely deformed and combined the clay pieces and shaped the container with the manufacturing process of ‘Xiang Qi’, breaking the stereotype of tradition. 

容器是建筑的缩小版，建筑是城市的缩影。

Container is a mini version of architecture and architecture is the epitome of the city. 

残垣的记忆 #2 Memories of Wall II, 2021

从2019年第一次到景德镇的三年间，我目睹了这座城市巨大的蜕变：老屋被拆除或翻修；街道满目的建筑废墟；迅速林立的现代景观建筑群……这种变革深刻地影响到每个生活在这座城市的人。 

In the three years following my first visit to Jingdezhen in 2019, I witnessed the great transformation of the city: the old houses were demolished or renovated. The streets are full of building ruins and rapidly growing modern landscape buildings... These changes have had a profound impact on everyone living in Jingdezhen. 

 在传统生活方式与飞速发展的现代化进程之间，人们有着复杂的心理反应：徘徊，困惑，观望，质疑，期待，憧憬……。这些建筑给了我创作的灵感，我的这批容器作品是象征性的一座城池，是这个特殊时代的特殊记忆，让未来去反思。

Between the traditional way of life and the rapid development of modernization, people have complex psychological reactions: wandering, confusion, watching, questioning, expectation, longing. These buildings have inspired my creations. My container works are symbolic cities and special memories of this unique era, which lets people reflect on the future. 

扁形容器 岛 Islands, 2021

建筑作为我们的容身之所，承载的是生活，是家的象征。我的不规整的、缺损的器皿，正是不完美生活的写照，却有着别样的美感。我个人生活轨迹的变迁也如同这容器，历经了从“立”到“破”再到“重构”的过程。

Our shelter architecture carries life and is the symbol of home. My irregular and defective utensils are the portrayals of an imperfect life but they have a different kind of beauty. The changes to my personal life are also like these containers which have gone through the process from ‘establishment’ to ‘breaking’ and then to ‘reconstruction’. 

容器可用于收纳和储存，具有包容性；我塑造的容器盛放的是纷雜的日常，欢乐和忧伤的记忆。

The container can be used for gathering and storage and is inclusive; the container I modeled is filled with miscellaneous daily, happy and sad memories. 

屋上屋 One Above the Other, 2021

容器作为载体是独立于空间的“界”与“限”；我也试图打破容器的封闭与局限性，用缺口、钻洞等手段进行突破和释放，在冲突中创造和谐。

As a carrier the ‘container’ is independent of the ‘boundaries’ and ‘limits’ of space; I try to break the closure and limitation of the container; break through and release with gaps and holes, creating harmony in the conflict. 

容器的每个组成部分都折射出生活的不同的侧面和维度；容器表面装饰的图形和肌理呈现出生活的丰富性和生命的质感。

Each component of the container reflects different aspects and dimensions of life; the decorative graphics and textures on the surface of the containers showing the richness of life. 

霜 Frost, 2021

从二维平面的绘画，到空间立体的塑造，我不断尝试新领域，实现自我表达的突破。 

From painting on a two-dimensional plane to the shaping of a three-dimensional space I constantly try new fields to achieve breakthroughs of self-expression. 

我的陶瓷容器系列是我建构的精神家园。

My porcelain containers are my spiritual home. 

半圆 Semi Circle, 2021

后记：

结束景德镇驻场已经一个月了，思念那里的朋友们以及这座城市！创作的冲动和灵感也依然“魂牵梦绕”着我。 

每件陶瓷作品凝结了大家的汗水和劳动。难忘伙伴们齐心助力把沉重的泥坯作品运到窑房，小心翼翼地入窑、码窑，冒着高温和蚊虫的叮咬，汗流浃背⋯⋯艰辛的过程和开窑时的激动，历历在目。 

感谢国际工作室的瀚辰！感谢烧窑的胡师傅！感谢助手小胡等几个年轻的志愿者！感谢每个国际工作室的工作人员以及驻场艺术家所给予我的帮助！

张丹

2021年9月27日 于北京

  陶溪川·景德镇国际工作室  

驻留项目简介 

陶溪川·景德镇国际工作室成立于 2015 年，是扎根于景德镇的陶瓷文化聚落。成立六年来，依托景德镇陶瓷产业优势，来自三十个国家的数百名专业陶艺家和陶艺爱好者曾参与国际工作室的驻留项目。工作室为艺术家提供专业的陶艺创作服务，期间举办了超过五十场单人及团体艺术展览，三十余场工作营，五届春秋大集以及两届陶瓷电影周。

过去的两年来疫情席卷全球，看似漫无边际的疫情周期里，生活充满了不确定性。伴随着疫情常态化的发展，陶溪川·景德镇国际工作室开放了主题为“把情绪交给我”的2022年驻留计划申请。不论你是画家、插画师、动画师、或是字体设计师，我们都欢迎你的参与。

撰文：张丹

编辑：Jing

校对：詹佑铭

审核：易广英 王章璋 木子旋 新锐