"I design on the computer, import the program, and the design is converted into code sent to the 3D printer, creating ceramics in a new way." In a studio in the "thousand-year-old porcelain capital" of Jingdezhen, Jiangxi, emerging ceramic artist Michael May from the United States is using innovative technology to redefine the boundaries of porcelain art.
Michael came to Jingdezhen a year ago through the Taoxichuan Art Center's Migratory Bird Program (an international artist residency program). What started as a three-month stay has turned into a deepening affection and appreciation for Jingdezhen.
"The tools I use to create ceramic works are also made with a 3D printer, which allows me to create with more ease and efficiency." On Michael's workbench, a large ceramic piece is beginning to take shape, with stamps made from a 3D printer leaving small flowers on the pottery. The colorful glazes make them even more lively.
"I love blue and white porcelain, and Jingdezhen has given me a lot of creative inspiration." Michael stated that he tries to incorporate modern technology into traditional techniques and continually explores the integration of various ceramic production methods, hoping to break the boundaries between tradition and modernity, bringing new vitality to ceramic art.
Currently, Michael not only continues his creations in Jingdezhen but also shares what he has learned and thought, offering courses at Taoxichuan. "I try to teach something different in each class so that students can learn not only the basics but also something special," said Michael.
Like Michael, Nigerian artist Chris Klay is also a resident artist at Taoxichuan International Studio. However, Chris had no prior experience with ceramics. For him, Jingdezhen is an interesting "ceramic enlightenment."
"I used to see potters showcasing their work on social media and thought they were beautiful. I wanted to create such beautiful pieces as well." As an artist, Chris has always been exploring various possibilities in art.
Chris found that in Jingdezhen, everyone from the elderly to children is knowledgeable about ceramics. He also gains a lot of inspiration from interactions with local artists.
"These are common African patterns, and I incorporate elements from my hometown into my creations." Chris said that each piece carries memories of his home culture and respect for Jingdezhen craftsmanship. He hopes that through his works, he can promote the exchange and integration of Chinese and African ceramic cultures.
Like Chris, Indian sculptor Srinia Chowdhury is also drawn to Jingdezhen. "This is a treasure trove for ceramic artists; I've never seen so many ceramic works in one place at the same time. I came here to expand my artistic boundaries," said Srinia Chowdhury.
On Srinia Chowdhury's workbench, the clay modeling is unique and interesting, adorned with playful and cute designs. The vibrant colors add an Indian flair to the pieces, retaining the intricate rhythm of Indian sculpture while enriched with the texture of Jingdezhen's traditional techniques. In Jingdezhen, Srinia Chowdhury has found limitless possibilities for cultural exchange and integration. She expresses her hope that through her works, more people will understand the charm of combining Indian culture and ceramic art.
Today, Jingdezhen is home to thousands of "foreign Jingpiao" (foreigners engaged in ceramic-related work or artistic creation in Jingdezhen). Whether it's 3D-printed ceramics or African patterns on clay, they are shaping the new force in the ancient porcelain capital.
Michael came to Jingdezhen a year ago through the Taoxichuan Art Center's Migratory Bird Program (an international artist residency program). What started as a three-month stay has turned into a deepening affection and appreciation for Jingdezhen.
"The tools I use to create ceramic works are also made with a 3D printer, which allows me to create with more ease and efficiency." On Michael's workbench, a large ceramic piece is beginning to take shape, with stamps made from a 3D printer leaving small flowers on the pottery. The colorful glazes make them even more lively.
"I love blue and white porcelain, and Jingdezhen has given me a lot of creative inspiration." Michael stated that he tries to incorporate modern technology into traditional techniques and continually explores the integration of various ceramic production methods, hoping to break the boundaries between tradition and modernity, bringing new vitality to ceramic art.
Currently, Michael not only continues his creations in Jingdezhen but also shares what he has learned and thought, offering courses at Taoxichuan. "I try to teach something different in each class so that students can learn not only the basics but also something special," said Michael.
Like Michael, Nigerian artist Chris Klay is also a resident artist at Taoxichuan International Studio. However, Chris had no prior experience with ceramics. For him, Jingdezhen is an interesting "ceramic enlightenment."
"I used to see potters showcasing their work on social media and thought they were beautiful. I wanted to create such beautiful pieces as well." As an artist, Chris has always been exploring various possibilities in art.
Chris found that in Jingdezhen, everyone from the elderly to children is knowledgeable about ceramics. He also gains a lot of inspiration from interactions with local artists.
"These are common African patterns, and I incorporate elements from my hometown into my creations." Chris said that each piece carries memories of his home culture and respect for Jingdezhen craftsmanship. He hopes that through his works, he can promote the exchange and integration of Chinese and African ceramic cultures.
Like Chris, Indian sculptor Srinia Chowdhury is also drawn to Jingdezhen. "This is a treasure trove for ceramic artists; I've never seen so many ceramic works in one place at the same time. I came here to expand my artistic boundaries," said Srinia Chowdhury.
On Srinia Chowdhury's workbench, the clay modeling is unique and interesting, adorned with playful and cute designs. The vibrant colors add an Indian flair to the pieces, retaining the intricate rhythm of Indian sculpture while enriched with the texture of Jingdezhen's traditional techniques. In Jingdezhen, Srinia Chowdhury has found limitless possibilities for cultural exchange and integration. She expresses her hope that through her works, more people will understand the charm of combining Indian culture and ceramic art.
Today, Jingdezhen is home to thousands of "foreign Jingpiao" (foreigners engaged in ceramic-related work or artistic creation in Jingdezhen). Whether it's 3D-printed ceramics or African patterns on clay, they are shaping the new force in the ancient porcelain capital.