GAO YUHANG
GAO YUHANG
2024年底，我计划回到贵州，去完成Land系列留下的疑问。如果从自己的回忆里找到那些熟悉、美好的片段，引导并激励我创作。那陌生的环境、没有链接的记忆，要如何给予我创作的动力，指引我去向怎样的创作方向？
By the end of 2024, I plan to return to Guizhou to resolve the questions left unanswered by the Land series. If I can find those familiar, beautiful fragments in my own memories, they will guide and inspire my creativity. But how can that unfamiliar environment and those disconnected memories provide me with the motivation to create, and guide me toward a creative direction?
从贵州的黔西到黔南，一路不断的行走，我的感知从最初眼见时的震撼，到深入其中后细微的体会。在溶洞里停留的时间越长，触觉、听觉也逐渐变得敏锐。巨大、奇特的溶石趋于平淡，每一滴水声，每一块溶石的触面开始变得清晰、明确。溶洞似乎在用其独有的生态环境告诉我，相信自己的触感与听觉，它们亦能指引你的下一步。那些依靠眼见定义的风景，似乎并不适用于溶洞的生态体系。
By the end of 2024, I plan to return to Guizhou to resolve the questions left unanswered by the Land series. If I can find those familiar, beautiful fragments in my own memories, they will guide and inspire my creativity. But how can that unfamiliar environment and those disconnected memories provide me with the motivation to create, and guide me toward a creative direction?
从贵州的黔西到黔南，一路不断行走，我的感知从最初眼见时的震撼，到深入后细微的体会。溶洞里停留的时间越长，触觉、听觉愈发敏锐。奇特的溶石趋于平淡，每一滴水声、溶石的触面开始变得清晰、明确。溶洞似乎在用其独有的生态环境告诉我，相信自己的触感与听觉，它们亦能指引你的下一步。那些依靠眼见定义的风景，似乎并不适用于溶洞的生态体系。
From Qianxi to Qiannan in Guizhou, I walked incessantly along the way. My perception shifted from the initial awe of what I saw to subtle sensations as I immersed myself more deeply. The longer I stayed inside the karst cave, the more sensitive my tactile and auditory senses became. The enormous and extraordinary stalactites began to feel ordinary, while each drip of water and every textured surface of the rocks grew distinct and clear. It was as though the cave was telling me through its unique ecosystem: trust your sense of touch and hearing—they can guide your next step. Scenes defined solely by vision seem inadequate within the ecological system of a karst cave.
初入溶洞时，那些深藏于地表之下、由水与时间书写的形态所带来的震撼，钟乳石滴流凝固的垂悬张力，方解石结晶集合碰撞的冲突感，石幔层积堆叠的复杂韵律。我在手捏成型的过程中，开始尝试通过泥料的可塑性与捏塑过程的随机性制作陶瓷机理，来尝试体现这种形态逻辑，从溶石的形态里捕捉些许细节，一片岩壁饱经侵蚀的表皮肌理，一个孔洞穿透物质的负空间结构，一块仿佛仍在“生长”的溶石所呈现的累积态势，最后将它们放大，成为一件作品创作的可能性。
Upon first entering the cave, the awe-inspiring forms carved by water and time deep beneath the earth's surface leave a lasting impression: the suspended tension of stalactites frozen in mid-drip, the sense of conflict from the collision of calcite crystal clusters, and the complex rhythms of layered rock formations. In the process of hand-forming the clay, I began to experiment with using the malleability of the clay and the randomness of the shaping process to create ceramic textures, aiming to capture the underlying logic of these forms. I sought to extract details from the stalactite formations—the eroded surface texture of a rock wall, the negative space structure of a hole piercing through the material, the cumulative posture of a stalactite that seems to be “growing”—and then amplify them to explore the possibilities of transforming them into a work of art.
随着创作过程的不断深入，除了利用模仿来寻找创作可能性之外，我开始尝试赋予这些形态以功能实用性，在保留即兴手捏的核心方式下，让层叠的岩壁意象转化为能够拥有承重能力的台面，让溶石轮廓分明的结构转化为陶瓷家具上必要的功能形态。作品也开始出现明确的创作方向的转移，它们出现合适的棱角，置物的台面，日常的高度，与之前的创作相互融合，形成新的可能性。
As the creative process deepened, in addition to using imitation to explore creative possibilities, I began to experiment with imparting functional utility to these forms. While retaining the core method of spontaneous hand-molding, I transformed the layered rock wall imagery into tabletops capable of bearing weight, and the distinct contours of molten rock into the necessary functional forms of ceramic furniture. The works also began to show a clear shift in creative direction, featuring appropriate angles, functional surfaces for placing objects, and everyday heights, blending with previous creations to form new possibilities.
在创作的后期，我发现这些经历传递给我的信息无法再提供明确方向与能量反馈，对于溶洞这个陌生的生态，我完全是一个无知的旁观者，于是我开始尝试运用完全不受控制的方式创作。我利用差异化的环境干燥泥片，引导泥片产生不同的干燥应力，从而出现不可控的卷曲与自然塌陷。随后将泥片随机拼组，形成一个全新的造型形态，最后让釉料附着全表面，使得每一面均为可视面，让观感产生更多可能。
In the later stages of creation, I realized that the messages conveyed to me by these experiences could no longer provide clear direction or energy feedback. Faced with the unfamiliar ecology of the cave, I was completely an ignorant bystander. Thus, I began to experiment with a completely uncontrolled approach to creation. I utilized the varying environmental conditions to dry the clay sheets, guiding them to develop different drying stresses, resulting in uncontrollable curling and natural collapse. I then randomly assembled the clay sheets to form a new sculptural form, and finally applied glaze to the entire surface, making every side a visible surface and opening up more possibilities for visual perception.
当创作离开记忆、场景、物质的链接，以一种“无”的状态，去跟随创作重新体会、感受，形成新的链接。作品也许一直在尝试与你对话，“新的声音”不断的浮现。我总是在好奇，它们将去向何处。
When creation departs from memory, scenes, and material connections, it enters a state of “nothingness” and follows creation to re-experience and feel, forming new connections. The work may be constantly trying to communicate with you, and “new voices” continue to emerge. I am always curious about where they will go.