Teacher of the Department of Ceramics, Academy of Fine Arts, Jingdezhen Ceramic University – Lu Xiaoni

Lu Xiaoni

      Born in Shanghai in April 1983, he graduated from the Chinese Painting Department of Shanghai Academy of Fine Arts, Shanghai University. He obtained a master’s degree in sculpture and ceramics from Jingdezhen Ceramic University and a master’s degree in art from West Virginia University. He is a member of the Jiangxi Artists Association and a lecturer at the Ceramic Art Institute of Jingdezhen Ceramic University. In 2012, he was appointed to teach at the Kyung Hee University of Korea. The first National Art Foundation student of contemporary ceramic painting.He has published more than 20 papers in various core journals and more than 10 patents.

Participation awards:

In 2018, “Wrapped Flowers” won the bronze medal of the 11th China Ceramic Art Exhibition

2018 “Three Sheep” Millennium Jingde – China on Porcelain, the First China (Jingdezhen) Contemporary Ceramic Painting Exhibition

2018 “Swan” Changnan Cup third Jingdezhen original ceramic art competition first prize

In 2015, “The Rhyme of the Lotus” won the silver medal in the 10th National Ceramic Art Design Innovation Award

In 2012, “Bamboo” was selected for the first China Contemporary Ceramic Art Exhibition

2010 “The Dancer on the Box” won the third prize of the 6th Youth Art Exhibition of Jiangxi Province

In 2010, “Qinglian” won the silver medal in the 9th National Ceramic Art Design Innovation Award

In 2010, “Yazhi” won the 9th National Ceramic Art Design Innovation Award for Excellence in Excellence

In 2010, “Liren” won the gold medal of the 5th China Folk Crafts Fair

In 2009, “Makeup” won the third prize of the 13th Jiangxi Fine Arts Exhibition

2008 SOLO SHOW “DANCER ON THE BOX” ZEN CLAY, MORGAN TOWN, WEST VIRGINIA, USA

In 2007, the pottery work “Teapot” participated in the WVU-JCI International Ceramic Art Institute Exhibition

In 2005, Chinese painting “Street Dance” was selected as “Visual Stunning-2005” Shanghai Youth Art Exhibition

Makeup

Makeup 1

a feast of youth

Interviewer: Ding Yiming (Editor-in-Chief, China Ceramics Research)

Interviewee: Lu Xiaoni

Ding: Hello Lu, your undergraduate is studying at Shanghai University. Why didn’t you test Jingdezhen Ceramic University? After that, how did I take the graduate student of my father’s army teacher? Is it for inheritance or what kind of plan?

Lu: I grew up in Jingdezhen, I saw it, I saw ceramics, so I wanted to use the opportunity of college to go outside and see what the art world is like, absorb some new knowledge, and learn some Different artistic concepts, so I applied for Shanghai University, specializing in Chinese painting.

      After coming into contact with different concepts and different artistic atmospheres in Shanghai, I came back to graduate students from the Ceramics University. There are also many considerations. I have been influenced by my father since childhood, such as painting, artistic concept, aesthetics, outlook on life, etc. As I slowly grow up and learn, I feel that my father’s ideas are still very correct, and I also have ceramics. A newer understanding and feelings.

Ding: After studying for so many years, your thoughts have more ideas than your father and mother.

Lu: Relatively speaking, they will be conservative. Their life experiences and their artistic experiences are relatively simple. When they are young, they have no conditions and no chance to touch new artistic concepts. In the process of learning in our generation, the experience and learning will be more diversified. I am also trying to expand my horizons, so I see more things and understand more things than them, but the skills and craftsmanship on hand is not as solid as they are. This is to study hard. I will incorporate modern art concepts into my works and create works with my own characteristics.

Ding: You also have the experience of studying abroad. Can you talk about the difference between ceramic art teaching in American colleges and ceramic art teaching in Chinese universities? What kind of education do you think of domestic education and American education? What are the advantages and disadvantages?

Lu: The art education of American colleges and universities is an art concept of contemporary art based on pottery art. The things that are done emphasize one individuality. The creation works are done by one person from beginning to end, from the matching of mud, glaze. The proportioning, molding, painting, and kiln of the materials are all done by the author himself. If the artist completes such a series of operations, he can more accurately understand the artist’s creative intentions in some details, but there will be some shortcomings in the difficulty of the whole process.

Pottery is a highly artistic art category. If each process is completed by one person, it may not be so mature in technology. The final artistic effect may not meet the ideal requirements. The effect may be slightly weaker. The United States will pay more attention to the ideas of the author and the ideas embodied in the works. I feel that the work seems to have a certain sense of value, or it must have a certain degree of difficulty in it. This will help to improve the personality and artistry of the work. Therefore, after I have studied the concept of ceramic art creation in the United States, I often use it with the domestic This kind of pottery creation ideas are combined to think. Domestic education is more integrated with all aspects of mature resources to achieve the desired effect.

Regarding the advantages and disadvantages of art education in China and the United States, I believe that the education of both countries has its own advantages and disadvantages. The advantage of the United States lies in the fact that a person from the beginning to the end of his creation and experience the production process of the work, which will reflect the author’s creative intention in detail, instead of The master craftsman who specializes in craftsmanship will dispel the original intention of the author. But the disadvantages are also here. If a person masters all the creative processes and the procedures are complicated in the process of creating ceramic art, it is inevitable that there will be no place, which will lead to poor final results. The biggest shortcoming in China is that there are too many students, one teacher with multiple students, limited energy, the overall level may decline, and it is difficult to teach students in accordance with their aptitude.

Ding: There are not many blue and white works you created. What is the reason?

Lu: Most of my works are a combination of Chinese and Western culture. Blue and white will also draw, but only from the plane, if you want to be surprising, there is still a limit in your own thinking. For the time being, blue and white is used as an element to decorate the work and use it as a means of decoration. I will pay more attention to the styling and decoration, try to make the works diversified and bright.

Ding: Let’s talk about the ins and outs of the “Makeup” series. “Chopsticks head” is very impactful. What do you want to express? Why choose the shape of chopsticks as hair?

Lu: The earliest idea was to make a series of pottery works based on sculpture heads, with blue and white glaze and other decorative effects. After the prototype is born, the visual impact of the work I feel is still not enough. I need a form that can reflect modern and more tension. The character image is pre-shaped, and then various methods are tried on the decoration. The soft hemp rope is used for the hair, and the mud stick is used for the expression. I also thought about decorating with steel nails, etc., but The nails are arranged in a weak sense of inflation and are relatively stiff and cannot achieve the desired effect. Occasionally, I found that chopsticks are a good point of visual impact. The tension of the chopsticks is very strong, and the volume of the whole work is full after being arranged.

The main body of this series of works is a female avatar. Whether from makeup or her whole image, we must pursue an exaggerated, beautiful and vivid visual impact. After confirming the use of chopsticks as an element to decorate the head, try chopsticks of various materials. The texture of the metal is too hard. It is visually matched with the ceramic material. The materials of wood and bamboo have also been tried. Finally, I feel that ceramic chopsticks are more uniform with the characters. During this period, I also tried various colors to decorate the chopsticks, black and colored, and finally decided to use this style. The decorative chopsticks in these works are all customized by themselves. Because it is made around the head shape, the size and decoration should be considered comprehensively, and the decoration is mainly hand-painted. I feel that as my creative experience grows, there is still much room for improvement in the current work.

Teapot Series

Inheritance and Innovation – Lu Xiaomu’s Blue and White Wrapped Flower Series

Author: Chen Jie

      When I first saw Lu Xiao’s works, there was a feeling of being strange and familiar. The tangled flowers he created seem to be simple, but each painting has different changes, and the taste is not a taste. Because I rarely see similar creations, I talked to him about my own understanding and asked for answers with many questions.

Lu Xiaoni’s creation absorbs the beauty from the traditional Chinese entangled patterns, and uses his own understanding to change the curvature and convergence of some curves. Plan the picture with the concept of modern design, showing a new look. The tangled branches are classic patterns that have gone through thousands of years. Because of their classics, the difficulty of breaking through is naturally not small. At first, because of this form, Lu Xiaomu had a disagreement and dispute with the parents of the same art creator, but this did not stop his footsteps. During the undergraduate period, influenced by Chinese traditional culture, he used the brushwork of Chinese traditional painting to create a wreath of flowers, and designed a first draft on rice paper. This unprecedented form has allowed parents to change their minds, from doubt to encouragement and support.

In fact, the advent of Lu Xiaoni’s “Wrapped Flowers” series is not a temporary epiphany, but a long-term search. The motivation stems from his love of patterns and his own dreams. Therefore, in the creation, combined with the design of pen and ink, Lu Xiaomu borrowed the classic style, let the history and culture become the current, and let the current situation have a sense of history. That is to say, he used the taste of Chinese painting to transform the tangled branches, and the present is not only the feeling of the pattern, but the art. More deeply, however, in my opinion, his understanding of blue and white is more like a piece of blue than a piece of monochrome. The design of the whole picture is more like a graphic designer’s planning of the picture. It is different from the traditional blue and white, directly stimulating the viewer’s eye, visually more pure and more contemporary. With a popular word, his work is very “tidal.”

As early as six years ago, he used the inserts to pile up and create the entangled flowers. That is the embryonic form of the now wrapped flower, and his graduation work is also the creation of the tangled branch. Later, he devoted a lot of energy to excavating and researching the aspects of picture composition, layout, modeling, pen and color, and got his own set of special experience. The picture that Lu Xiaomu presented to us is exquisite and rigorous. His rational concept has never been slackened, and it is used to strictly test his every move. Lu Xiaomu uses his nature to create, he expresses self-seeking, and all aspects of the picture are always balanced.During his creation, he was also influenced by his parents. The exchange of daily artistic ideas and mutual proposals during his creation made his tangled flowers more beautiful and comprehensive. The creation of the series of Lu Xiaolu’s entangled flowers has the distinctive features of the era of cultural paintings, that is, trying to break the traditional restrictions and create a new visual way. Its practice not only preserves the traditional Chinese painting taste, but also attracts the expression of modernism. It emphasizes the richness, layering and freshness of the picture.

The artist tries to find a breakthrough in the pattern, and almost has the self-evident rationality. The word “innovation” used to be, is, and will be the flag of the painters. This is why the painter is easily overseen by the concept. one. Lu Xiaomu recognizes the significance of innovation, but he strives to avoid the hollowing out and modernization of innovation, especially when the painter is only following the trend, and will soon be able to go to the opposite side of the goal. Excellent artists have a lot of creativity, but not only create a set of artistic words and methodologies of their own, but more importantly, their works respond sensitively to changes in their era. Throughout the development of art history, we will find that the works of outstanding artists hide the humanistic spirit and humanistic theme of their life era behind the visual form.

“Wrapped Flower Series”

Blue and White Cover Bowl

“Sanyang Kaitai”

“Swan Series”

Department of Ceramics, Jingdezhen Ceramic University

  Address: Xianghu Campus, Jingdezhen Ceramics University, Jingdezhen, Jiangxi, China

      Zip code: 333403

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Audit: Zhang Wei