策展人：陈瑛

展览时间：2012年12月18日-2013年3月7日

展览地点：上海玻璃博物馆二楼临展厅

展览支持：严又青

品牌顾问：朗图广告

Curator: Chen Ying

Duration: Dec 18, 2012 – March 7, 2013

Venue: 2nd Floor, Exhibition Hall, Shanghai Museum of Glass

Exhibition Support: Yan Youqing

Brand Consultant: RITO

创作可视为一种心象，它是个人主观情感和外在物像相融合的产物，来自于个人的阅读与视觉经验，源于整个感性生活。在所闻、所见、所感之中，某些情境似曾相识，某些意象屡屡重现。我试图选取和过滤这些流动的、鲜活的素材，舍弃表象的细节，突出那些典型特质，寻求主观情感与事物本质的高度契合，使得作品游离于写实与抽象之间，并与直觉、理念融为一体,体现时间、空间上的恒久性。我希望作品通过对玻璃材质特性的把握和铸造工艺的运用，呈现几何化、圆润、趋于扁平的视觉特征。

Creation can be regarded as a mental image. It is what you get when you combine your subjective emotions with external objects. It comes from your personal reading and visual experience, and from your entire emotional life. It is a kind of déjà vu or repetition of imagery in what you smell, see or feel. I tried to select and filter these fresh and flowing materials, forgo superficial details, and highlight those typical qualities, so as to seek alignment of my subjective emotions with the true nature of things, to make my work drift between the realistic and abstract, incorporating intuition and ideas, and reflecting the ever-lasting nature of time and space. I hope my works will acquire a geometric, rounded and flattened look through leveraging the characteristics of glass and its casting process.

“学院派玻璃艺术的出现，使玻璃艺术的创作重点从物质形式的探讨转向了精神层面，或者说转向了对艺术作品所要表达的观念的重视。它使玻璃艺术走出了装饰和形式主义的框框，而重新成为思想的载体。” 庄小蔚教授曾如是评论。

正是在这样的理论指导下，我开始了自己的玻璃艺术创作。在创作过程中，一个命题时常盘亘脑中：以玻璃作为思想的载体，观念和“语言”该如何融入作品？玻璃艺术又该如何传承中国传统文脉？
在多年的创作实践中，这些问题的答案从模糊走向清晰，逐步沉淀为一种创作习惯和指引理念。

我希望以一种纯粹的“语言”来描述自己所熟悉或理解的事物。纯粹，是指对事物本质的直觉感知，剥离一切附加在对象上的附属物，使对象还原到它的本质、本真、本源；纯粹，是以最原初的形态揭示那些隐藏在自然结构下面的本质，而在这个统一结构中，形体单纯而完整。

Professor Zhuang Xiaowei has noted that “‘The arrival of academic glass art transferred its creative focus from material forms to an exploration at the spiritual level. You could also say that it changed the focus of what the piece of art was expressing. It took glass art beyond the confines of formalism and merely being a form of decoration, and back to being a way of communicating ideas.”

It was under this theoretical guidance that I started my own glass art. In my creative process, I often ask myself: treating glass art as a carrier of ideas, how can we incorporate concepts and “language” into my works? How can glass art carry on China’s cultural heritage?

In my years of creative practice, the answers to these questions have become clear, gradually turning into creative habits and a guiding concept.

I want to describe things that I am familiar with or understand in a pure “language”. Purity refers to the intuitive perception of the nature of things, stripped of all appendages attached to the object in question, so they can be restored to their essence, origin and true form; purity means to reveal the essence hidden under the natural structure in its most original form, while it remains pure and complete in this unified structure.