多質性場域─破陶展2007
2007.07.20～2007.09.02
09:00 - 17:00
多質性場域─破陶展2007 展期: 2007-07-20 ~ 2007-09-02
地點: 週二至週日 上午10:00-下午5:00 展出地點/時間：台北藝術大學 關渡美術館1F
2007年7月20日~9月2日
台中縣立文化中心3F
2007年9月14日~10月7日
Venue/Date: KuanduMuseum of Fine Arts
July 20—September 2, 2007
TaichungCounty Cultural Center
September 14—October 7, 2007 策展人：黎翠玉
Curator: LI Tsuei-yu 展出藝術家：余成忠、吳水沂、吳偉谷、湯潤清、連寶猜（依姓氏筆劃）
Participant artists: YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin, LIEN Pao-tsai
【展覽說明】 長久以來由於受到實用性與裝飾性的特質強調，一般人對於「陶藝」的認知傾向固定化、偏狹化。面對此一困境，策展人黎翠玉繼2004年「破陶展I」、2005年「破陶展II」之後，再度以「破陶」為名，邀請國內五位知名陶藝家余成忠、吳水沂、吳偉谷、湯潤清、連寶猜，自2007年7月20日起，假國立台北藝術大學關渡美術館一樓，舉辦「多質性場域─破陶展2007」。 誠如展覽名稱「破陶展」的「破」、以及「破」字的英譯「Post」所顯示，本展覽強調對於陶藝一般性定義的「破除」、以及展現新時代陶藝風貌的決心。在這同時，透過「多質性」與「場域」的字義使用，企圖點出五位參展者各自不同的創作技法與作品理念，以及本展覽對於作品與展場空間呼應性的重視。 就創作技法與作品理念而言，湯潤清以令人嘆為觀止的手捏陶精細技法，化數千隻蝴蝶展翅群舞於101展場，透過戶內戶外蝴蝶身影的交錯，表述人與自然生態共生的理想王國；相形於此，103展場的余成忠系列，則以各式各樣的怪異人體、肢體為題，一張張附著於作品表面的大口，象徵現代人事事憑靠「口」－你說．我說．他說．說個不停的生活「鬧」境，調侃現代人以口代心、以口易腦的悲哀。而位於104展場的吳偉谷系列，則以簡約的幾何造形、對比均衡的量塊，極度簡化作品的敘事性，僅透過直截立面的局部不規則隆起，以及作品表面深淺層疊、明亮而靜謐的釉色變化等等，含蓄而隱諱的道出起伏於作品底部的脈動能量。 同樣是來自作品深層的呼喚，吳水沂在柴燒完成的上，放置混瓷土燒製而成的，並將作品遍佈於黑色地板與白色桌椅上，企圖在色澤、質地感之間達到對比，在夢幻與實境的拉扯間，為一座座在黑暗中發出微光的作品，增添神秘感。與有著異曲同工之妙、帶領觀者踏入奇幻世界的連寶猜，則以造型誇張、表情詼諧滑稽的青蛙、貓咪、老鼠等等動物主角，發揮「寓言式」的警世作用，嘲諷世間的人情冷暖與金錢貪慾。 上述五位來自不同陶藝學習背景、展現不同陶藝創作風格的台灣當代陶藝家，為我們提示豐富的陶藝表現可能性與未來性。誠如策展人黎翠玉對於本展覽的期待－「展現與新時代共振的陶藝動能」，這是一場開啟人們對於台灣當代陶藝全新概念與觀看方法的展覽。 Introduction For a long time, our cognition to ceramic art has always been associated with its practical and decorative functions. Trying to break this prejudice, Curator LI Tsuei-yu has dedicated herself on ceramic exhibitions since “Post-Ceramics I” in 2004 and “Post-Ceramics II”, 2005. From July 20, a new exhibition “Multiformed-Essence Space: Post Ceramics 2007” will be opened in the Kuandu Museum of Fine Arts. Participant artists include YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin and LIEN Pao-tsai. As the exhibition’s Chinese title refers, the word “Po” could be translated as “break” and transliterated as “post”. The exhibition goal is to “break” the general definition and presents new styles of ceramic arts. Simultaneously, by using phrases “multiformed” and “space”, the title shows those participant artists have different styles, techniques, and concepts, and points out how exhibits echo with the space as well. In terms of techniques and concepts, TANG Jun-chin’s “The puzzlement on retina” is composed of thousands exquisite ceramic butterflies which were made in excellent skills, flying in Gallery 101 and the courtyard of the museum. These butterflies are decorated indoors and outdoors, which illustrates an ideal world where human and ecology exist together. In Gallery 103, YU Cheng-chung’s “New Talking Movement—Our Songs” series consist of various and bizarre human bodies and limbs. Big mouths attached on the works symbolize that how modern people rely on “talking”—everyone talks ceaselessly, and the “mouth” has displaced “heart” and “brain”, and played a much more important role. In Gallery 104, the shape of WU Wei-ku’s “Geometry．Relationship” series is quite concise and simple. The artist simplifies what the works narrate; yet the spine of the seam and the transformation of glazing colors unfold the power and energy of his works in an implicit way. WU Shuei-yi’s “Imaginations from Pearls on Sea Scallops”, similarly, reveals the power from the work itself. The artist puts pearls that made of mixed porcelain clay onto wood-firing sea scallops, and installs them on black floor and white table. He tries to make a contrast between colors and texture, and adds a bit mystery on these glimmered works. There is some resemblance in LIEN Pao-tsai’s “New Aesop’s Fables”. She leads the visitors step into a fantasyland, where frogs, cats, and mice have exaggerative and funny facial expressions. The artist employs the fables to sneer at human nature and lusts cleverly. The five artists, with different ceramic art background and style, reveal to us the possibility and future of ceramic art. The curator expects that this exhibition would “amplifies the power of ceramic art in the new age”. It is also our hope that it would open up a new way and new point of view in front of our visitors.
地點: 週二至週日 上午10:00-下午5:00 展出地點/時間：台北藝術大學 關渡美術館1F
2007年7月20日~9月2日
台中縣立文化中心3F
2007年9月14日~10月7日
Venue/Date: KuanduMuseum of Fine Arts
July 20—September 2, 2007
TaichungCounty Cultural Center
September 14—October 7, 2007 策展人：黎翠玉
Curator: LI Tsuei-yu 展出藝術家：余成忠、吳水沂、吳偉谷、湯潤清、連寶猜（依姓氏筆劃）
Participant artists: YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin, LIEN Pao-tsai
【展覽說明】 長久以來由於受到實用性與裝飾性的特質強調，一般人對於「陶藝」的認知傾向固定化、偏狹化。面對此一困境，策展人黎翠玉繼2004年「破陶展I」、2005年「破陶展II」之後，再度以「破陶」為名，邀請國內五位知名陶藝家余成忠、吳水沂、吳偉谷、湯潤清、連寶猜，自2007年7月20日起，假國立台北藝術大學關渡美術館一樓，舉辦「多質性場域─破陶展2007」。 誠如展覽名稱「破陶展」的「破」、以及「破」字的英譯「Post」所顯示，本展覽強調對於陶藝一般性定義的「破除」、以及展現新時代陶藝風貌的決心。在這同時，透過「多質性」與「場域」的字義使用，企圖點出五位參展者各自不同的創作技法與作品理念，以及本展覽對於作品與展場空間呼應性的重視。 就創作技法與作品理念而言，湯潤清以令人嘆為觀止的手捏陶精細技法，化數千隻蝴蝶展翅群舞於101展場，透過戶內戶外蝴蝶身影的交錯，表述人與自然生態共生的理想王國；相形於此，103展場的余成忠系列，則以各式各樣的怪異人體、肢體為題，一張張附著於作品表面的大口，象徵現代人事事憑靠「口」－你說．我說．他說．說個不停的生活「鬧」境，調侃現代人以口代心、以口易腦的悲哀。而位於104展場的吳偉谷系列，則以簡約的幾何造形、對比均衡的量塊，極度簡化作品的敘事性，僅透過直截立面的局部不規則隆起，以及作品表面深淺層疊、明亮而靜謐的釉色變化等等，含蓄而隱諱的道出起伏於作品底部的脈動能量。 同樣是來自作品深層的呼喚，吳水沂在柴燒完成的上，放置混瓷土燒製而成的，並將作品遍佈於黑色地板與白色桌椅上，企圖在色澤、質地感之間達到對比，在夢幻與實境的拉扯間，為一座座在黑暗中發出微光的作品，增添神秘感。與有著異曲同工之妙、帶領觀者踏入奇幻世界的連寶猜，則以造型誇張、表情詼諧滑稽的青蛙、貓咪、老鼠等等動物主角，發揮「寓言式」的警世作用，嘲諷世間的人情冷暖與金錢貪慾。 上述五位來自不同陶藝學習背景、展現不同陶藝創作風格的台灣當代陶藝家，為我們提示豐富的陶藝表現可能性與未來性。誠如策展人黎翠玉對於本展覽的期待－「展現與新時代共振的陶藝動能」，這是一場開啟人們對於台灣當代陶藝全新概念與觀看方法的展覽。 Introduction For a long time, our cognition to ceramic art has always been associated with its practical and decorative functions. Trying to break this prejudice, Curator LI Tsuei-yu has dedicated herself on ceramic exhibitions since “Post-Ceramics I” in 2004 and “Post-Ceramics II”, 2005. From July 20, a new exhibition “Multiformed-Essence Space: Post Ceramics 2007” will be opened in the Kuandu Museum of Fine Arts. Participant artists include YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin and LIEN Pao-tsai. As the exhibition’s Chinese title refers, the word “Po” could be translated as “break” and transliterated as “post”. The exhibition goal is to “break” the general definition and presents new styles of ceramic arts. Simultaneously, by using phrases “multiformed” and “space”, the title shows those participant artists have different styles, techniques, and concepts, and points out how exhibits echo with the space as well. In terms of techniques and concepts, TANG Jun-chin’s “The puzzlement on retina” is composed of thousands exquisite ceramic butterflies which were made in excellent skills, flying in Gallery 101 and the courtyard of the museum. These butterflies are decorated indoors and outdoors, which illustrates an ideal world where human and ecology exist together. In Gallery 103, YU Cheng-chung’s “New Talking Movement—Our Songs” series consist of various and bizarre human bodies and limbs. Big mouths attached on the works symbolize that how modern people rely on “talking”—everyone talks ceaselessly, and the “mouth” has displaced “heart” and “brain”, and played a much more important role. In Gallery 104, the shape of WU Wei-ku’s “Geometry．Relationship” series is quite concise and simple. The artist simplifies what the works narrate; yet the spine of the seam and the transformation of glazing colors unfold the power and energy of his works in an implicit way. WU Shuei-yi’s “Imaginations from Pearls on Sea Scallops”, similarly, reveals the power from the work itself. The artist puts pearls that made of mixed porcelain clay onto wood-firing sea scallops, and installs them on black floor and white table. He tries to make a contrast between colors and texture, and adds a bit mystery on these glimmered works. There is some resemblance in LIEN Pao-tsai’s “New Aesop’s Fables”. She leads the visitors step into a fantasyland, where frogs, cats, and mice have exaggerative and funny facial expressions. The artist employs the fables to sneer at human nature and lusts cleverly. The five artists, with different ceramic art background and style, reveal to us the possibility and future of ceramic art. The curator expects that this exhibition would “amplifies the power of ceramic art in the new age”. It is also our hope that it would open up a new way and new point of view in front of our visitors.
多質性場域─破陶展2007 展期: 2007-07-20 ~ 2007-09-02
地點: 週二至週日 上午10:00-下午5:00 展出地點/時間：台北藝術大學 關渡美術館1F
2007年7月20日~9月2日
台中縣立文化中心3F
2007年9月14日~10月7日
Venue/Date: KuanduMuseum of Fine Arts
July 20—September 2, 2007
TaichungCounty Cultural Center
September 14—October 7, 2007 策展人：黎翠玉
Curator: LI Tsuei-yu 展出藝術家：余成忠、吳水沂、吳偉谷、湯潤清、連寶猜（依姓氏筆劃）
Participant artists: YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin, LIEN Pao-tsai
【展覽說明】 長久以來由於受到實用性與裝飾性的特質強調，一般人對於「陶藝」的認知傾向固定化、偏狹化。面對此一困境，策展人黎翠玉繼2004年「破陶展I」、2005年「破陶展II」之後，再度以「破陶」為名，邀請國內五位知名陶藝家余成忠、吳水沂、吳偉谷、湯潤清、連寶猜，自2007年7月20日起，假國立台北藝術大學關渡美術館一樓，舉辦「多質性場域─破陶展2007」。 誠如展覽名稱「破陶展」的「破」、以及「破」字的英譯「Post」所顯示，本展覽強調對於陶藝一般性定義的「破除」、以及展現新時代陶藝風貌的決心。在這同時，透過「多質性」與「場域」的字義使用，企圖點出五位參展者各自不同的創作技法與作品理念，以及本展覽對於作品與展場空間呼應性的重視。 就創作技法與作品理念而言，湯潤清以令人嘆為觀止的手捏陶精細技法，化數千隻蝴蝶展翅群舞於101展場，透過戶內戶外蝴蝶身影的交錯，表述人與自然生態共生的理想王國；相形於此，103展場的余成忠系列，則以各式各樣的怪異人體、肢體為題，一張張附著於作品表面的大口，象徵現代人事事憑靠「口」－你說．我說．他說．說個不停的生活「鬧」境，調侃現代人以口代心、以口易腦的悲哀。而位於104展場的吳偉谷系列，則以簡約的幾何造形、對比均衡的量塊，極度簡化作品的敘事性，僅透過直截立面的局部不規則隆起，以及作品表面深淺層疊、明亮而靜謐的釉色變化等等，含蓄而隱諱的道出起伏於作品底部的脈動能量。 同樣是來自作品深層的呼喚，吳水沂在柴燒完成的上，放置混瓷土燒製而成的，並將作品遍佈於黑色地板與白色桌椅上，企圖在色澤、質地感之間達到對比，在夢幻與實境的拉扯間，為一座座在黑暗中發出微光的作品，增添神秘感。與有著異曲同工之妙、帶領觀者踏入奇幻世界的連寶猜，則以造型誇張、表情詼諧滑稽的青蛙、貓咪、老鼠等等動物主角，發揮「寓言式」的警世作用，嘲諷世間的人情冷暖與金錢貪慾。 上述五位來自不同陶藝學習背景、展現不同陶藝創作風格的台灣當代陶藝家，為我們提示豐富的陶藝表現可能性與未來性。誠如策展人黎翠玉對於本展覽的期待－「展現與新時代共振的陶藝動能」，這是一場開啟人們對於台灣當代陶藝全新概念與觀看方法的展覽。 Introduction For a long time, our cognition to ceramic art has always been associated with its practical and decorative functions. Trying to break this prejudice, Curator LI Tsuei-yu has dedicated herself on ceramic exhibitions since “Post-Ceramics I” in 2004 and “Post-Ceramics II”, 2005. From July 20, a new exhibition “Multiformed-Essence Space: Post Ceramics 2007” will be opened in the Kuandu Museum of Fine Arts. Participant artists include YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin and LIEN Pao-tsai. As the exhibition’s Chinese title refers, the word “Po” could be translated as “break” and transliterated as “post”. The exhibition goal is to “break” the general definition and presents new styles of ceramic arts. Simultaneously, by using phrases “multiformed” and “space”, the title shows those participant artists have different styles, techniques, and concepts, and points out how exhibits echo with the space as well. In terms of techniques and concepts, TANG Jun-chin’s “The puzzlement on retina” is composed of thousands exquisite ceramic butterflies which were made in excellent skills, flying in Gallery 101 and the courtyard of the museum. These butterflies are decorated indoors and outdoors, which illustrates an ideal world where human and ecology exist together. In Gallery 103, YU Cheng-chung’s “New Talking Movement—Our Songs” series consist of various and bizarre human bodies and limbs. Big mouths attached on the works symbolize that how modern people rely on “talking”—everyone talks ceaselessly, and the “mouth” has displaced “heart” and “brain”, and played a much more important role. In Gallery 104, the shape of WU Wei-ku’s “Geometry．Relationship” series is quite concise and simple. The artist simplifies what the works narrate; yet the spine of the seam and the transformation of glazing colors unfold the power and energy of his works in an implicit way. WU Shuei-yi’s “Imaginations from Pearls on Sea Scallops”, similarly, reveals the power from the work itself. The artist puts pearls that made of mixed porcelain clay onto wood-firing sea scallops, and installs them on black floor and white table. He tries to make a contrast between colors and texture, and adds a bit mystery on these glimmered works. There is some resemblance in LIEN Pao-tsai’s “New Aesop’s Fables”. She leads the visitors step into a fantasyland, where frogs, cats, and mice have exaggerative and funny facial expressions. The artist employs the fables to sneer at human nature and lusts cleverly. The five artists, with different ceramic art background and style, reveal to us the possibility and future of ceramic art. The curator expects that this exhibition would “amplifies the power of ceramic art in the new age”. It is also our hope that it would open up a new way and new point of view in front of our visitors.
地點: 週二至週日 上午10:00-下午5:00 展出地點/時間：台北藝術大學 關渡美術館1F
2007年7月20日~9月2日
台中縣立文化中心3F
2007年9月14日~10月7日
Venue/Date: KuanduMuseum of Fine Arts
July 20—September 2, 2007
TaichungCounty Cultural Center
September 14—October 7, 2007 策展人：黎翠玉
Curator: LI Tsuei-yu 展出藝術家：余成忠、吳水沂、吳偉谷、湯潤清、連寶猜（依姓氏筆劃）
Participant artists: YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin, LIEN Pao-tsai
【展覽說明】 長久以來由於受到實用性與裝飾性的特質強調，一般人對於「陶藝」的認知傾向固定化、偏狹化。面對此一困境，策展人黎翠玉繼2004年「破陶展I」、2005年「破陶展II」之後，再度以「破陶」為名，邀請國內五位知名陶藝家余成忠、吳水沂、吳偉谷、湯潤清、連寶猜，自2007年7月20日起，假國立台北藝術大學關渡美術館一樓，舉辦「多質性場域─破陶展2007」。 誠如展覽名稱「破陶展」的「破」、以及「破」字的英譯「Post」所顯示，本展覽強調對於陶藝一般性定義的「破除」、以及展現新時代陶藝風貌的決心。在這同時，透過「多質性」與「場域」的字義使用，企圖點出五位參展者各自不同的創作技法與作品理念，以及本展覽對於作品與展場空間呼應性的重視。 就創作技法與作品理念而言，湯潤清以令人嘆為觀止的手捏陶精細技法，化數千隻蝴蝶展翅群舞於101展場，透過戶內戶外蝴蝶身影的交錯，表述人與自然生態共生的理想王國；相形於此，103展場的余成忠系列，則以各式各樣的怪異人體、肢體為題，一張張附著於作品表面的大口，象徵現代人事事憑靠「口」－你說．我說．他說．說個不停的生活「鬧」境，調侃現代人以口代心、以口易腦的悲哀。而位於104展場的吳偉谷系列，則以簡約的幾何造形、對比均衡的量塊，極度簡化作品的敘事性，僅透過直截立面的局部不規則隆起，以及作品表面深淺層疊、明亮而靜謐的釉色變化等等，含蓄而隱諱的道出起伏於作品底部的脈動能量。 同樣是來自作品深層的呼喚，吳水沂在柴燒完成的上，放置混瓷土燒製而成的，並將作品遍佈於黑色地板與白色桌椅上，企圖在色澤、質地感之間達到對比，在夢幻與實境的拉扯間，為一座座在黑暗中發出微光的作品，增添神秘感。與有著異曲同工之妙、帶領觀者踏入奇幻世界的連寶猜，則以造型誇張、表情詼諧滑稽的青蛙、貓咪、老鼠等等動物主角，發揮「寓言式」的警世作用，嘲諷世間的人情冷暖與金錢貪慾。 上述五位來自不同陶藝學習背景、展現不同陶藝創作風格的台灣當代陶藝家，為我們提示豐富的陶藝表現可能性與未來性。誠如策展人黎翠玉對於本展覽的期待－「展現與新時代共振的陶藝動能」，這是一場開啟人們對於台灣當代陶藝全新概念與觀看方法的展覽。 Introduction For a long time, our cognition to ceramic art has always been associated with its practical and decorative functions. Trying to break this prejudice, Curator LI Tsuei-yu has dedicated herself on ceramic exhibitions since “Post-Ceramics I” in 2004 and “Post-Ceramics II”, 2005. From July 20, a new exhibition “Multiformed-Essence Space: Post Ceramics 2007” will be opened in the Kuandu Museum of Fine Arts. Participant artists include YU Cheng-chung, WU Shuei-yi, WU Wei-ku, TANG Jun-chin and LIEN Pao-tsai. As the exhibition’s Chinese title refers, the word “Po” could be translated as “break” and transliterated as “post”. The exhibition goal is to “break” the general definition and presents new styles of ceramic arts. Simultaneously, by using phrases “multiformed” and “space”, the title shows those participant artists have different styles, techniques, and concepts, and points out how exhibits echo with the space as well. In terms of techniques and concepts, TANG Jun-chin’s “The puzzlement on retina” is composed of thousands exquisite ceramic butterflies which were made in excellent skills, flying in Gallery 101 and the courtyard of the museum. These butterflies are decorated indoors and outdoors, which illustrates an ideal world where human and ecology exist together. In Gallery 103, YU Cheng-chung’s “New Talking Movement—Our Songs” series consist of various and bizarre human bodies and limbs. Big mouths attached on the works symbolize that how modern people rely on “talking”—everyone talks ceaselessly, and the “mouth” has displaced “heart” and “brain”, and played a much more important role. In Gallery 104, the shape of WU Wei-ku’s “Geometry．Relationship” series is quite concise and simple. The artist simplifies what the works narrate; yet the spine of the seam and the transformation of glazing colors unfold the power and energy of his works in an implicit way. WU Shuei-yi’s “Imaginations from Pearls on Sea Scallops”, similarly, reveals the power from the work itself. The artist puts pearls that made of mixed porcelain clay onto wood-firing sea scallops, and installs them on black floor and white table. He tries to make a contrast between colors and texture, and adds a bit mystery on these glimmered works. There is some resemblance in LIEN Pao-tsai’s “New Aesop’s Fables”. She leads the visitors step into a fantasyland, where frogs, cats, and mice have exaggerative and funny facial expressions. The artist employs the fables to sneer at human nature and lusts cleverly. The five artists, with different ceramic art background and style, reveal to us the possibility and future of ceramic art. The curator expects that this exhibition would “amplifies the power of ceramic art in the new age”. It is also our hope that it would open up a new way and new point of view in front of our visitors.
藝術家和策展人介紹
策展人： 姓名：黎翠玉 學歷：東海大學美術研究所〈現為陶藝雜誌特約編輯〉 〈簡略〉 2004年受邀參加第一屆國際陶藝雜誌總編輯會議於中國西安 2004年受邀參加第三屆國際柴燒研討會於美國芝加哥 2006受邀參加第四屆國際柴燒研討會於美國鳳凰城 策展經歷：2004 國立台北教育大學─﹝打擊陶藝─破陶展I﹞ 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 2004~2006年策劃第一、二、三屆「陶藝新陶獎」 2005 鶯歌陶瓷博物館─﹝策展陶藝新陶獎第二屆得獎作品﹞ 國立新竹教育大學─﹝策展陶藝新陶獎第二屆得獎作品﹞ 2006 鶯歌陶瓷博物館─﹝策展陶藝新陶獎第三屆得獎作品﹞ 展出藝術家： 〈一〉姓名：連寶猜 學經歷：銘傳技術學院商業設計科 〈簡略〉 1999年「歷史之心」─裝置藝術大展 〈二〉姓名：吳水沂 學經歷：國立藝專美工科 〈簡略〉 1999 北伊利諾大學藝術系訪問藝術家 1999、 2004、 2006 連續3屆，受邀參加國際柴燒研討會於美國 並發表論文。 2004 國立台北教育大學─﹝打擊陶藝─破陶展I﹞ 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈三〉姓名：余成忠 學經歷：高雄師範大學美術系 〈簡略〉 鶯歌陶瓷博物館主辦 台北陶藝獎〈入選、佳作等獎〉 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈四〉姓名：鍾曉梅 學經歷：美國芳邦藝術學院美術碩士〈MFA〉 台南女子大學美術系 副教授 〈簡略〉2005年國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈五〉姓名：湯潤清 學經歷：復興美工 〈簡略〉 第五屆國家工藝獎〈首獎〉 〈六〉姓名：吳偉谷 學經歷：德國司徒加特造型藝術學院〈博士〉 〈簡略〉 德國司徒加特造型藝術學院 〈客座講師〉
藝術家和策展人介紹
策展人： 姓名：黎翠玉 學歷：東海大學美術研究所〈現為陶藝雜誌特約編輯〉 〈簡略〉 2004年受邀參加第一屆國際陶藝雜誌總編輯會議於中國西安 2004年受邀參加第三屆國際柴燒研討會於美國芝加哥 2006受邀參加第四屆國際柴燒研討會於美國鳳凰城 策展經歷：2004 國立台北教育大學─﹝打擊陶藝─破陶展I﹞ 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 2004~2006年策劃第一、二、三屆「陶藝新陶獎」 2005 鶯歌陶瓷博物館─﹝策展陶藝新陶獎第二屆得獎作品﹞ 國立新竹教育大學─﹝策展陶藝新陶獎第二屆得獎作品﹞ 2006 鶯歌陶瓷博物館─﹝策展陶藝新陶獎第三屆得獎作品﹞ 展出藝術家： 〈一〉姓名：連寶猜 學經歷：銘傳技術學院商業設計科 〈簡略〉 1999年「歷史之心」─裝置藝術大展 〈二〉姓名：吳水沂 學經歷：國立藝專美工科 〈簡略〉 1999 北伊利諾大學藝術系訪問藝術家 1999、 2004、 2006 連續3屆，受邀參加國際柴燒研討會於美國 並發表論文。 2004 國立台北教育大學─﹝打擊陶藝─破陶展I﹞ 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈三〉姓名：余成忠 學經歷：高雄師範大學美術系 〈簡略〉 鶯歌陶瓷博物館主辦 台北陶藝獎〈入選、佳作等獎〉 2005 國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈四〉姓名：鍾曉梅 學經歷：美國芳邦藝術學院美術碩士〈MFA〉 台南女子大學美術系 副教授 〈簡略〉2005年國立新竹教育大學─﹝破陶展II─節慶﹞ 台中縣立文化中心─﹝破陶展II─節慶﹞ 〈五〉姓名：湯潤清 學經歷：復興美工 〈簡略〉 第五屆國家工藝獎〈首獎〉 〈六〉姓名：吳偉谷 學經歷：德國司徒加特造型藝術學院〈博士〉 〈簡略〉 德國司徒加特造型藝術學院 〈客座講師〉
作品
