在移動中甦醒-黃曉茹個展
Awakening in Motion-Huang Hsiao-Ju Solo Exhibition
▎時間：2025/01/04（六）-2/16（日）
▎開幕時間：2025/01/04（六）13:00
▎公休：每週三四 (Closed on Wed & Thu)
▎地點：台南市中西區民權路二段64巷56號3F
▎藝術家：黃曉茹 Huang Hsiao-Ju
▎主辦單位：應力空間、土星工作室
▎指導單位：國藝會
〈在移動中甦醒-Awakening in Motion〉
這次展出的作品是在2023-2024之間完成，每一個階段嘗試不同的可能，以數個小方形單元件 組合成正方形或長方形作為載體。
好奇於土所能延展的空間，於是讓它帶著我一起進行這個物質轉化的過程，由濕轉乾，由軟轉硬，經過時間的流逝，我觀察著物質轉化之中豐富的質變，是否隱藏著未知的物質狀態?
我的雙手介入執行製作，促使材料在原先製陶過程中增加更多變因，整個製作過程我與土總是相互影響，使我不斷地看到新的可能性，在出窯之前總是無法確定它會是什麼狀態，充滿驚喜也 可能是驚嚇，當我反覆在陶的製作過程中來回碰撞，堆疊累積著不同的質感，每一個環節在刻 意製作與偶然產生的各種質感，最後都將交匯在作品之中。
我使用紙漿混入土中，從材料開始調配，進行乾燥切割再排列重組黏合上釉，進入窯內高溫燒製，屬於我對土的詮釋，而作品承接並成形，回到手工的方式，以自身的身體和時間作為交換 ，回應這個媒材在時代快速演進下所擁有的其中一部分。
Awakening in Motion
The works exhibited here were completed between 2023 and 2024, with each phase exploring different possibilities. Small square components are combined to form squares or rectangles, which serve as the base structure for the pieces.
Curious about the space that clay can extend into, I allowed it to guide me through the process of material transformation. From wet to dry, from soft to hard, I observed the rich changes in texture over time. Does this process conceal unknown states of matter? My hands were involved in the making, introducing additional variables into the traditional ceramic process. Throughout the entire making process, my interaction with the clay was one of mutual influence, constantly revealing new possibilities. I could never be sure of the final outcome before the pieces were fired—there were always moments of surprise, sometimes even shock. As I repeatedly collided with and stacked different textures during the creation of the ceramics, each step—both intentional and accidental—intersected to shape the final work.
I mixed pulp with clay, starting from the material preparation, then drying, cutting, arranging, reassembling, and applying glaze, before firing at high temperatures in the kiln. This is my interpretation of clay, with the final pieces taking shape through handcraft, using my body and time as exchanges. The works respond to the material’s part in an era of rapid evolution.
黃曉茹 Huang Hsiao-Ju IG:hsiao_ju_ceramics
1995出生台灣基隆
2019大葉大學造形藝術學系 陶瓷組 2023國立台南藝術大學 應用藝術研究所 陶瓷組
獲獎
2023法藍瓷光點獎_入選 2018苗栗陶台灣柴燒藝術節_優選
展覽
2023《築流》- 黃曉茹個展，國立台南藝術大學 - 藝象空間，台南
2023 壞坏 vol.3，台北國際藝術村，台北
2022 南藝應用藝術研究所邀請展，Z 書房，台中
2021《存在感》聯展，濕地 VENUE，台北
2021《是朱雀還是鳳凰》南藝大應用藝術研究所師生聯展，總爺藝文中心，台南
2019 國立台南藝術大學應用藝術研究所陶瓷組物件展_大崎陸陸，青青土氣，台南
2019《貳拾》大葉大學造形藝術學系第二十屆畢業展，港區藝術中心，台中
2018《藝外》大葉大學造形藝術學系 工房聯展，葫蘆墩文化中心，台中
那些可能超出想像的-窯裡的動態及平衡
文| 應力空間 彭奕軒
應力空間在2025年很榮幸邀請台灣藝術家黃曉茹，發表最新個展〈在移動中甦醒〉，也是藝術家第一次對外個展發表，對於陶瓷最迷人之處，一直來自於一種我們永遠無法真實掌握最終完成的樣貌，藝術家藉由高溫產生的變形方法，將最終的捏塑交付給重力及熱力的輔助去進行捏塑或者說是某種坍塌，藉由她透過組件式結構去建構一個長方體，並在規整的形狀下交由高溫製作它最終的樣貌。
▎一種全新的測量方式-動態
藝術家透過實際的熱力塌陷情況，進行多次的調整拼組結構的方法，小陶片的間隔、材質內容的調整，再來回不斷燒製的經驗中，一個慢速且柔和的垂墜，這如同在測試某種無法掌握的變因，藝術家找到了某個可能的方法或者語言，去講述及發掘每一個「出窯」的驚奇與失落，那些窯裡的畫面我們通常看不到，但透過藝術家這樣的測量方法，讓我們能瞥見其中的可能及想像。
▎分布均勻後的變形及塑造-平衡
每當聊到製作的方法時，藝術家透露出，所有的形狀決定都是從基礎的形狀開始，並透過拼組產生結構，紙漿混入土中、礦物色粉的灑入，釉的填補縫隙、這些看似都是一個為了產生陶瓷作品的基礎過程，但從這些平衡的組合方式中，可以看見這些動作除了藝術家的施作，有另一部分的完成是在「塌陷」、「熔融」的狀態下產生這些細微的樣貌。
▎藝術家的本意？無法控制的樣貌？
做陶瓷創作有具備根本的一個問題，經由火、高溫的燒製後，到底還有什麼程度會是本來藝術家想要控制的以及不可控制的，這一直以來都是個值得深究的部分，藝術家從每個階段分層的回看，進行另一種可能的調整，某種不同的動作逐一開始改變。
The Dynamics and Balance Beyond Imagination in the Kiln
Text by: Soil Space, Peng Yi-Hsuan
In 2025, Soil Space is honored to invite Taiwanese artist Huang Hsiao-Ju to present her latest solo exhibition "Awakening in Motion". This marks the artist's first solo exhibition. The most fascinating aspect of ceramics has always been the fact that we can never truly grasp the final form that will emerge. The artist uses deformation techniques caused by high temperature to entrust the final clay sculpture to the assistance of gravity and heat, leading to a process of molding or what could be described as a certain collapse. Through an assemblage structure, Huang constructs a rectangular form and, under a well-ordered shape, lets the high temperature reveal its final appearance.
▎A New Measurement Method - Dynamics
The artist utilizes the real collapse due to heat to adjust and reassemble structures repeatedly. The spacing between small ceramic pieces and adjustments in material composition, as well as the continuous firing experience, create a slow and gentle drooping. This process seems like a test of uncontrollable variables. Through this, the artist has discovered a possible method or language to express and explore the wonder and loss of each firing. The scenes inside the kiln, which are usually unseen, can be glimpsed through the artist’s method of measurement, allowing us to perceive the possibilities and imaginings within.
▎Deformation and Shaping After Even Distribution - Balance
When discussing her methods, the artist reveals that all shapes begin with a fundamental form, from which structure is built through assembly. The blending of paper pulp with clay, the sprinkling of mineral colorants, and the filling of gaps with glaze—all of these seem like basic processes for producing a ceramic piece. Yet, through these balanced combinations, we can see that, aside from the artist's active engagement, another part of the creation occurs in the states of "collapse" and "melting," where subtle forms emerge.
▎The Artist's Intent? The Uncontrollable Appearance?
One fundamental issue in ceramic creation lies in the fact that, after the firing process at high temperatures, how much of the final result can be controlled by the artist, and how much remains uncontrollable. This has always been a subject worth investigating. The artist revisits each stage in layers, making further adjustments, as different actions gradually begin to alter the outcome.