Judy's artistic characteristics

Compared with the carrier of landscape painting since China's metaphysics in Wei and Jin Dynasties, ceramics is a completely independent and self-sufficient artistic expression material. After the old aesthetic noumenon of ceramic art, that is, the official aesthetic system of ceramic disappeared with the imperial power, the generation of "master porcelain" since Zhushan Eight Friends is a transitional period when the new ceramic art noumenon has not been fully constructed. Judy's porcelain landscape painting works may be one of the important signs of constructing the new ceramic art noumenon.

Judy's series of porcelain paintings, only from the perspective of painting language, have completed the illusion replacement of the language "signifier" to "signified" from the beginning, and these paintings have made the viewer enter the subjective abstraction of "seeing the mountain is not the mountain". We can easily see the inheritance of aesthetics. East and west, the past modern and realistic freehand brushwork, there are always some unspeakable strangeness and joy, and there is no language uncertainty and agitation, but a quiet existence.

Judy's instinct in the process of creating high-temperature glazed porcelain plate paintings transcends his literary pursuit of nature. Compared with a series of abstract and concrete viewing rules provided by western aesthetic methodology, my viewing of Judy's works is more willing to return to the category of landscape painting. This may be a bold viewing adventure, but it is a very valuable attempt for ceramic art.

The research of artist Judy is easy to fall into the strange circle of methodology. Judy, who has a background of studying in the west, is easily regarded as abstracted from the western aesthetic system and art because of his high-temperature glass paintings on porcelain plates. In fact, Judy is exploring the inner relationship between ceramic painting materials and expression language from the deep spiritual level.

Judy believes that "simply substituting an artistic concept into material classification is not a preconceived idea, and the so-called artistic creation can be completed." In fact, it is crude and immature to use China's traditional painting thinking or the avant-garde concept of western art to simply replace ceramic materials with all fait accompli artistic methodologies. Over-conceptualized artistic implementation can't complete artistic creation with epoch significance and personal temperament at first. "

At this point, Judy's artistic creation is conscious and intuitive. Mr. He Zi once expounded a concept called "intuitive freehand brushwork", which is just right for Judy's painting creation. The creative process of this kind of artists has nothing to do with theory and cultural knowledge, but only with the most real life state.

Early Judy, to be exact, Italy's Judy was relatively rational. Like a group of contemporary artists in China, he chose to play art by thinking, including his performance art "Traveling around Europe with Chairman Mao". The artistic thinking, purpose and communication significance involved in this are also self-evident.

Since then, Judy's series of photographs "The Water of Venice" is the beginning of Judy's return to China's artistic spirit. Although these works are also greatly influenced by western artistic methodology, the moment he intercepted from the water phase is subjective and spiritual. At this time, Judy first came into contact with the abstraction of natural images and the viewing rules created by Vientiane in eastern culture. In Judy's artistic creation, subjective creation began to be activated. This directly affected the later creation, that is, today's batch of high-temperature glazed porcelain paintings with unique spirit that can't be simply understood.

We can completely integrate Judy's ceramic painting into the contemporary extension of China's artistic spirit. In the series of Himalayas, Yunshan and Hills, we can see the pursuit of flat, high and far spatial images in traditional paper landscape paintings. The combination of ceramics and high-temperature glass, as well as the interaction between materials transformed by high-temperature kiln, presents a unique visual effect, which is beyond the reach of paper and ink, and is close to the tradition of western oil painting materials participating in picture composition.

Judy's high-temperature glazed porcelain dish landscape paintings completely show the language independence of ceramic art, and have the language characteristics and universal characteristics of world art. From the perspective of language sense, Judy combines the cultural attributes of the world's mainstream painting languages, showing a sense of perspective under the clouds, which is completely interlinked with China's traditional ink and wash landscape paintings through the shades of ink and wash and the charm of blackening and leaving blank. The bird's eye view from high altitude brings a far-reaching perspective different from that of the ancients, which is an unimaginable visual space for the ancients. It is precisely because of this perspective that although Judy's artistic creation is still in the tradition of "learning from the past" and "learning from nature", it has irreplaceable modernity. Moreover, it is also the aspiration of traditional China artistic spirit in its inner spiritual inheritance, and it is really a rare work.

From the photo collection "The Water of Venice", the subjective meaning of oriental art has developed to the landscape image dominated by porcelain. As a contemporary ceramic artist, Judy's artistic creation will be unique because of her profound combination of traditional oriental spirit and modernity.

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