展览预告 | “表象之下的幻境”张丹陶瓷艺术作品展

展览预告 | “表象之下的幻境”张丹陶瓷艺术作品展精华热点

2026-06-24 20:11:08 274阅读

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表象之下的幻境

她不是在做陶瓷，是用陶瓷画画。

一个颜色涂上去是那样，但经过上千度烧出来就完全不同了。可能是红，可能是黑，谁也不知道。

就是这不确定性吸引了她。她说，除了不确定性，也要有一些确定性，让它们达到平衡。

屡次仔细端详正在讲话的她，试图看出她的年龄，屡次都失败了。

有些人，就是无法被看出实际的年龄。

作为一直讲话、被观察的那个人，她同时也观察着对方，而且会突然地提出一些问题，不过话题很快会回到她所痴迷的创作上面。好像对生活中其它方面的关注——比如与人相处、比如食物——都只是她在工作中偶然走神的结果，勉为其难地停留一下下。

你以为她无所谓，她却偏偏很周到，特地带我们去看开窑，带我们探访景德镇的老作坊，甚至周到得事无巨细都要嘱咐——靠这边走，这样拿瓷板，这样推车，从这个角度这样拍我，去这间咖啡馆买咖啡，在那个座位吃午饭……

她说着说着会激动起来，眼睛发亮，我甚至以为她要哭了。关于艺术，关于生命，关于过去，还有现在她所爱的景德镇。

听她说话，也没有什么实际的意义，并不是从A导出B这样的逻辑。在她说话的时候，你其实可以放任自己去想象——有个少年欢快地在草原上吹一支自制的木笛，金色的阳光炫目，露水还残留在草叶的尖端。不需要神灵，不需要辩论，更不需要战争……世上一切，抵不得这清晨最芬芳的一刻。

作品全堆在工作室里，无论满意的不满意的，瓷板、瓷片、大大小小的瓷瓶、杯子、小型的雕塑，堆满各个角落，屋外的露台上还能看到工作失败的残局。

坐在那里一边听她讲一边反复扫视周围的作品，有些本来没有注意到的，也逐渐变得吸引人——那些颜色、肌理，和形态上的微妙转折，在用一种你没听过的语言小声唱颂，里面潜藏的意义会在不知不觉间传达到观者的内心。

同为一个创作者，由衷地羡慕她的创作状态。

她却说：其实我觉得创作不创作也没关系，过好自己的日子最重要。

可她连一间厨房都没有。

她所谓的过日子就是每天摸着那些瓷板、陶胚，琢磨该用什么釉色，烧出来会是什么样子；就是不停地尝试，不停地失败，在时间和生命堆积起来失败的废墟中找到耀眼的珍宝。

就像诗人找到一句恰如其分的诗。

A Fantasy World Beneath the Surface

Ceramic is her paint.

After the extreme heat process, which could be over 1,000 degrees Celsius, the color could vary in the most unexpected ways.

The incoherence attracts her, and with a drop of certainty to balance it.

One will not be able to tell her age just by looking at her. There are those who lives beyond the scope of time.

She observes, and is being observed during conversations. Chitchat pops up here and there, but eventually her topic will warp itself back to the trajectory of creativity.

Just when you suspect her of being careless, she shows her hospitality by showing you the most exotic corners in Jingde Zhen. She is specific about every detail, as far as which side of the street should one be walking on, how to hold the ceramic plate, how to push the cart, from which angle her picture should be taken, and which cafe and seat in a restaurant is preferable.

Her enthusiasm builds up, her eyes lit up when talking about art, life and the past of her beloved Jingde Zhen.

It’s not rationale, not causality in her words. It’s the incited imagery, the synesthesia— a young man playing a wooden flute that he carved himself on the meadow, dazzling sunlight, morning dew on the tip of grass-blade, no need for theology nor debate, let the world be and nothing there is but this moment of the precious fragrant dawn….

She sits among the debris of her works in her studio. Ceramic plates, pieces, cups, mini sculptures, etc. are scattered in all directions. Out on the balcony, there’s the residue of a failed experiment.

Listening to her, one is drawn into the nuances of color, texture and form. A language beyond semantics and metaphors emerges, psychedelic, in its literal sense.

For someone who doesn’t own a kitchen, she said, “I don’t really care about creating art, living well is more important.” As a fellow artist, I envy her.

Living well to her is to dive deep into her pile of ceramics, dwelling in colors and form, tests and failures. Occasionally, she encounters the precious among the crumbled sand castles, like poet, remembering that verse of inevitability, not one word exchangeable or disposable.

艺术家介绍：

张丹

1988-1992 毕业于中央美术学院附中、中央美术学院民间美术系。1992年移居捷克首都布拉格，在捷克、斯洛伐克、德国、波兰等多次举办个展。近年回国发展，多次举办绘画个展和参展；从2020年起在景德镇陶溪川国际工作室驻场，从事陶瓷创作；曾在北京捷克驻华大使馆举办个展；参展2022年中国美术馆《北京国际艺术双年展》，《2024中国磁州窑国际陶瓷艺术双年展》，陶溪川国际工作室与嘉德拍卖联合举办的《国际当代陶艺驻留艺术家作品展》，陶溪川中央美院美术馆群展等等。目前在景德镇从事高温颜色釉和陶瓷雕塑创作。

部分参展作品展示：