Three years ago, I went to a ceramic gallery in Shigaraki, Japan and bought a few utensils. It was on October 1st. When the gallery owner knew that I am Chinese, he was so surprised to say: "I saw it on TV that Chinese people buy luxuries in big cities like Tokyo, Osaka, and Kyoto. Why are you in this small town?"
Our relationship with the world is undoubtedly flustered and failed if it is only based on the purchase of luxuries. There is a deep problem behind this: when China rises, we ignore the culture and art of other countries, so we are one-way communication with the world. This one-way communication directly leads to the inability to receive new knowledge and enter the dilemma.
This time, Taoxichuan Autumn Festival invited more than 160 outstanding ceramic artists from 20 countries around the world to come to the exhibition. We can see that these bloodline extending from Chinese ceramic culture have completely different external expressions and inner feelings. Many of the works have appeared in modern ceramic art magazines in the form of clear texts, and now they are also vividly presented in the exhibition. This prompted us to think about how new forms and new manifestation of Chinese ceramics should be in the future.
2011年“使用与观看”，MILAL Museum, 韩国，首尔
2012年“Blue and Blue”, Royal Delft,荷兰，代尔夫特
2015年“Clay is Everyhing”，北京
2008年 Whitechapel Gallery, 英国，伦敦
2012年 Museum Prinsenhof Delft,荷兰，代尔夫特