Jia-Hong TSAI
Taiwan
b. 1994, Taipei, Taiwan. Lives and works in Kaohsiung, Taiwan.
2022 M.F.A., Tainan University of the Arts, Ceramics Group, Institute of Applied Arts
EXPERIENCE
2023 The 22th (2023) Taishin Arts Award－Nominations and Shortlists, Taishin Bank Foundation for Arts and Culture, Taipei, Taiwan.
2023 Kaohsiung Award－First Prize, Kaohsiung Museum of Fine Arts (KMFA), Kaohsiung, Taiwan.
2023 Gmunden Ceramics Residency Exhibition, GMUNDNER KERAMIK, Linz, Austria.
ARTISTS STATEMENT
TSAI, Jia-Hong, Born in 1994, Taiwan. Graduated from Tainan University of the Arts in 2016, Department of Material Creation and Design. Graduated from Tainan University of the Arts in 2022, Ceramics Group, Institute of Applied Arts.
Currently living in Taipei and Kaohsiung. As an art creator and visual designer. How to call potential emotional driving through the process of creation is the path I keep exploring. For ceramics creation, what I repeatedly experiment with is a state of “things coiling around each other." I believe that “consciousness, body, and materials" in everyday life could be given a new set of sensory experiences restructured during the process of creating ceramics. A body is like a map of hidden emotions and a sculptured figure carved by memories.
The medium of “clay" is no longer just a carrier to express my thoughts, it has a deeper meaning: closely connected with my life, the winding path left behind. Although it is introverted, it also expresses “human beings universal conditions of life". In the process of creation, ceramic sculptures are piled up from scratch in a process full of ritualistic throwing, kneading, pinching and shaping. Under these actions that seem to have no regard for the results and visual beauty, they are stacked from scratch; It is hollowed out and deformed, perhaps reconstructed or destroyed. All the scattered and fragmented thoughts are solidified after experiencing the burning of fire, and it is as if a part of myself has been settled and lightened.
Currently, I am actively dealing with how ceramic creation can enter the field, how to shape a more open text, escape from the independence and isolation of ceramic objects, and penetrate into the spatial field from a single object. At the same time, I am exploring various possibilities for the display of contemporary ceramics form. Integrating the field through space, from gazing to looking around, expands the agency of the object itself, and reshapes the viewing form of ceramic sculptures.