Clay, Found Objects, Kiln Tools, Glaze, Notes
2024


A piece of ceramic is inherently fragile. Though it does not shatter, it dreams of fragmentation; when it breaks, it does so incompletely. The jagged edges are striking, provoking a desire for repair—to end the suffering. Why must we see fragmentation as a flaw? These fractured surfaces should be striking; they represent rebirth. It is through fragmentation that the internal facets are revealed, and each shard gives rise to new insights. Why should we seek to glue them back together?
Whether in the realms of motherhood, ceramics, history, or the body, fragility is a common thread. "Fragmentation Occurs" encompasses both ceramic installations and paintings, presenting a transient exhibition that explores the lifecycle of clay alongside the dynamics of mother-daughter relationships. This work invites us to consider how fragmentation transforms from a conventional understanding into a deeper yearning.
Fragmentation reflects both the surprises and necessities encountered in ceramic making. Whether it’s the tools used, the transitional states of materials, or unexpected occurrences during the process, these aspects are often overshadowed by the concept of the finished ceramic piece. By incorporating these elements into her installations, the artist inadvertently challenges the traditional notions of ceramic craftsmanship. She posits that caretaking, much like the act of creation, entails a functional distinction between subject and object. The desire to make decisions represents a longing to restore the subject. To set functionality aside means relinquishing the boundaries of repairing a singular fragment.
Fragmentation and creation share a similar texture. Faced with the scattered fragments of consciousness, she seeks to explore a way of working that allows fragmentation to transcend mere phenomenon and embody a reflexive quality.
First, there is the fragmentation of experience. The pieces of bodies and objects relate to several friends who are mothers and their daughters, each corresponding to moments in personal histories where the fragility of mother-daughter relationships is revealed (see Notes on P24). Then there is the fragmentation of “this and that.” During the exhibition, she finds herself in the role of a mediator, navigating the differences between various “this and that” (see Notes on P22).
The third fragmentation corresponds to deviations in action. The 40 days spent in Jingdezhen arose from negotiations between mother and daughter, placing her on the ambiguous boundary between life and creation, continually balancing between this and that. In moments of recognition, the artist temporarily exists outside this dichotomy; when she imagines, past and future converge in fiction, leading her away from this and that, resulting in the third fragmentation.
Beyond the process, fragmentation is also evident in the lack of permanent structures for installation. Art pieces stand solely by juxtaposition, support, and balance, without the typical elements of adhesion, fixing, and suspension commonly found in installations.