Ceramics & Glass (MA)
Bingqing Hu
‘Yuanguang I’ — Longquan porcelain Traditional Celadon (blue/green) glaze
‘Yuanguang II’ — Longquan porcelain Traditional Celadon (blue/green) glaze
'Yuanguang III’ — Longquan porcelain Traditional Celadon (blue/green) glaze
working in process-plaster mould
YuanGuang after bisque firing
YuanGuang after bisque firing
Dragon kiln in Longquan — I was born in Longquan which is a small town in Southeast of China. It is the original location for firing Celadon for a thousand years. Celadon is also connected to the traditional Dragon kiln wood firing method. The experienced celadon artists carefully control all the processes by eye, based on the flame color.
DaYao
“YuanGuang” is another work inspired by my journey in Greenland. During the process that I have developed, the high temperature acts as an element heating the ice, which represents the iceberg in Greenland. Both the heat and the ice work in unison to create the texture of nature on the surface of the clay. I use the traditional glaze and vase shapes, combining them together to make reference to the loss of tradition, which also draws attention to the loss of the ice-covered landscape, as a result of climate change.
Medium:
Longquan Porcelain, Celadon glazeSize:
27cm*30cm
‘Ice Block I’ — Local Clay - Purple iron clay Traditional Celadon (blue/green) glaze
‘Ice Block I’-‘Details
‘Ice Block II’ — Longquan porcelain Covered with light bluish Green glaze
‘Ice Block II’ -Details — Longquan porcelain Covered with light bluish Green glaze
My Working Process
My Working Process
My Working Process
My Working Process
I chose to base a series of works on the simple traditional ice building block. These have been cut from natural ice to form structures, for centuries to form shelters and artworks. I have formed the rectangular shape by cutting the ice, and then the process that I have developed makes use of heated wax to further erode and texture the surface. This creates an interesting aesthetic but also references the erosion of ice giving the work a deeper significance.
Medium:
Local Clay,Traditional Celadon glazeSize:
27cm*30cm
3D Moulding
3D Printing
The last Iceberg I
The last Iceberg II
“The last iceberg” is inspired by Olafur Eliasson’s note “how the artists’ imagine our future?” and his response to this symbol of our fragile planet. Large scale 3D scanning of the landscape also offers the possibility of capturing the disappearing Icebergs and holding onto them as data. This can then be printed out so that the natural forms that are being lost can be remembered, held in the hand and admired. 3D printing has also allowed me to further consider the relationship between handcrafted objects and new digital technologies.
Medium:
Longquan porcelain Celadon GlazeeSize:
15cm*10cm
Series of Island in Exhibition time
ISLAND I
ISLAND I
ISLAND II
ISLAND II
The 'Island’ works are one of a series of ideas inspired by my journey to Greenland. The melting iceberg symbolizes changes to our planet. I have tried to capture the moment where our beautiful landscapes slowly disperse due to changing temperatures. This work serves to show my respect for the natural environment and also to emphasize the sadness and regret of the loss of natural beauty. The first 'Island’ shows the moment a crack appears signifying change to the ice sheet. The second 'Island’ is a lone iceberg in the center of the ocean expressing loss and isolation.
Medium:
longquan porcelain Celadon GlazeSize:
25cm*15cm
materials — In my working process, ice represents the iceberg in Greenland.
wax mould — The high temperature acts as an element heating the ice.
Wax mould for copper casting
CopperI
Copper II
I use Ice as a modeling material and then cast over it with hot wax. This causes the ice to melt and erodes the surface with a texture that I relate to the erosion of polar ice through global warming.
22 July 2020
12:30 (GMT + 0)
Zoom
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