I combined an original Chinese shard with detail images from Chinoiserie porcelain and stoneware from different countries which echo the original pattern details.

我将一个原始的中国碎瓷片与来自不同国家的中式陶瓷的图案结合起来，它们与原始图案细节相呼应。

I am creating a story for my ceramic pieces, giving them a new home and a new world.

为碎瓷片创造一个故事，给它们一个新的家和新的世界。

I did drawings of the Dutch work on painted wood, set the Chinese fragment on top of the drawing as if it were a stone, and there it was: a conversation of histories.

我在木头上绘制了一些荷兰风格的图案，把中国的碎片像石头一样镶嵌在上面，于是就有了：历史的对话。

For this project I have combined the Chinese porcelain shards with shards contemporary porcelain of the Norwegian ceramist, Sara Skotte. The new shards have drawings reminiscent of the ornaments on the Chinese shards.

在这个项目中，我将中国瓷器碎片与挪威陶瓷大师萨拉·斯科特的当代瓷器碎片结合起来。当代瓷片上的图画令人联想着中国古瓷片上的装饰。

Color, one of the most fundamental properties of things, is nothing more than a micro vibration of light in terms of the state of matter. All the colors in the world can be produced by superimposing or subtracting the three primary colors. Following the three primary colors, which are the basic elements of the visible world, this series of works pursues light.

颜色，是事物最基本的属性之一，从物质状态上来说无非是光的微小振动。世界的颜色，都可以由三原色叠加或消减而产生。就循着红蓝绿三原色这可见世界的基本要素出发，这系列作品追寻着光。

As a symbol of collaboration between chinese culture and western culture I´ve choosen clouds. Clouds move freely around the world.

作为中国文化和西方文化合作的象征，我选择了云。云在世界范围内自由移动。

Maybe one day all the pieces will be found and be re-connected to a whole again.

也许有一天，所有的瓷片都会被找到，并重新连接成一个整体。

For millennia was Jade praised for its hardness, durability, musical qualities, and beauty. In particular, its subtle, translucent colours and protective qualities caused it to become associated with Chinese concepts of the soul and immortality. With gold, it was considered to be a symbol of heaven.

几千年来，玉都以其硬度、耐久性、音乐性和美感而备受推崇。其中微妙的半透明的色彩和被赋予的守护属性都与中国文化中灵魂和永生（不朽）相关。和金子相结合后，成为天堂的象征。

Goyin& Goyang

A white and black GO-stone, each set with a 5 mm black & white cubic zirkonia. (rest of material is silver)

On the picture is a brooch.

The plan is to make also a pendant out of it. With a necklace of 2mm silicon thread, one part black other part white.

The jade waste that no one cares about has flaws on it, but is still fascinating to the artist. 

从玉石场捡来的的无人在意的废料，身上虽有瑕疵，对艺术家而言却依然很迷人。

The basic idea of this series of works is based of de- or new- construction, using the parts in a strange context， irritating our perception and works in artworks very well.

这一系列作品的基本思路是，基于解构或重构，在一个陌生的语境中使用碎瓷片，刺激着我们的认知。

This series of works presents an encounter between reality and the past.

这一系列作品，呈现了现实与过去的相遇。

Through the collision of embroidery and the materials of the tiles, the old tiles are given a new look and life.

透过刺绣与瓷片的材质碰撞，重新赋予老瓷片新的面貌与生命。

The collision and dialogue of colors and textures is its own language, in direct contact with perception.

色彩和质地的碰撞与对比，是它自身的语言，与感知直接接触。

From the circle, how infinite possibilities are born.

从圆之中，是如何生出无限可能性的。

The fragments of porcelain show beautiful paintings in blue lines telling about style and taste of former times, like souvenirs.

碎瓷片上，用蓝色的线条展示着美丽的绘画，诉说着昔日的风情和品味，就像时间的纪念品一样。

This series of works has a self-explanatory dexterity, which is concise and smooth.

这一系列作品，具有四两拨千金的巧劲，简洁流畅。

The shards are waiting to be reunited with God. People believe that it was necessary for the vases to break in order bring diversity into the creation of life.

这些碎片正等待着与神重逢。人们认为，为了给生命的创造带来多样性，花瓶有必要破碎。

The small pieces have memories. They bring you the Proust effect – they show how senses as doorways to lost memories.

瓷片有记忆。它们的普鲁斯特效应将显示感官如何作为通往失落记忆的大门。

The small pieces have memories.They bring you the Proust effect – they show how senses as doorways to lost memories.

瓷片有记忆。它们的普鲁斯特效应将显示感官如何作为通往失落记忆的大门。

Each porcelain object contains moments of lived life, contains gestures, taste, touch and personal stories.

每一件瓷器都包含了生活的瞬间，包含了手势、味道、触感和个人故事。

Is it possible that there is no absolute truth or history? If intactness is the common understanding of perfection, I prefer to have the beauty of fragments and my subjective perception of the universe.

这个世界或许没有绝对的真理。如果世俗的审美认为完整意味着完美，我更愿意欣赏碎片的美和我主观塑造的世界。

I imagine an encounter of an ancient Chinese artist and myself, a present day Israeli artist. It’s a dialogue of  restrain and provocation, control and freedom, moderation and impulse.

我想象着一个古代中国艺术家和我（一个当代以色列艺术家）的相遇。这是一场克制与挑战、控制与自由、节制与冲动的对话。

Play, learn and wear. I pick up Mahjong tiles as my material. Mahjong is a historic game born in China. Play by combining mahjong tiles such as simple designed symbols and numbers.

玩、学、穿。麻将牌是我的材料。麻将是诞生在中国的一种历史悠久的游戏。通过组合麻将牌来玩这个游戏，如设计简单的符号和数字。

This is a project about "municipal waste ". I hope to find local materials in different cities in China as inspiration. Research around their colors, materials, forms, and culture.

这是一个关于 "城市垃圾 "的项目。我希望能在中国不同的城市中找到当地的材料作为灵感，围绕它们的颜色、材料、形式和文化进行研究。

Take the memory of porcelain tiles and continue it with a new story.

把瓷片的记忆，用新的故事延续下去。

Cultural tassel form for both Chinese and Japanese is known as a sacred symbol such as harmony, purity, life, journey, universe, sky, etc.

中国和日本的文化流苏形式被称为和谐、纯洁、生命、旅程、宇宙、天空等神圣的象征。

n her works, the artist constructs dramatic landscapes and fairy tales of her own.

在作品中，艺术家构建了充满戏剧性的风景和属于她自己的童话故事。

The inspiration of different materials, elements and cultures are concentrated in one work, but without breaking the balance of the whole.

不同材料、不用元素、不同文化的灵感和处理方式都集中在一个作品中，但又不打破各自的平衡。

I used Chinese and Japanese porcelain. The two were joined with URUSHI lacquer.

我使用的是中国瓷器和日本瓷器。两者用URUSHI漆连接。你知道哪个是中国制造，哪个是日本制造吗？

I created these fantasy creatures with big eyes and open mouths from lamb spine bones I found from my travels to Estonian islands. 

我用我在爱沙尼亚群岛旅行时发现的羊脊骨创造了这些大眼睛、张嘴的幻想生物。

The Götheborg ship was launched in 1738 and made its first trip to China the following year. In total there were 3 trips to China but in 1745 the ship was lost just before sailing into Gothenburg harbour.

哥德堡号于1738年下水，次年首次前往中国。共3次前往中国，但在1745年，该船在驶入哥德堡港前失联。

My idea is to combine the pieces of blue and white porcelain with my current work, applying bright colors and very geometric shapes that will contrast with the broken pieces.

我的想法是将蓝瓷和白瓷的碎片与我现在的作品结合起来，应用鲜艳的色彩和非常几何的形状，与破碎的碎片形成对比。

This series features Kaminski's internationally acclaimed "grid" structure to create the unique "Chinese Knot".

这一系列作品采用Kaminski蜚声国际的“网格”结构来创作独一无二的“中国结”。

Fragments from different periods and different places, with their own memories and stories,meet with each other.

来自不同时期、不同地方的碎片，带着各自的记忆和故事，彼此相遇。

With her skillful craftsmanship and ingenuity, Yasmin presents the softness and harmony of silk, conveying her wish for the cultural integration of China and Israel.

雅思茗以纯熟的工艺和巧妙的才思，呈现丝绸的柔美与和谐之态，正是传达了她对中以文化鱼水交融的美好祝愿。

The shattered ancient porcelain pieces are returned to the complete entity in starry fragments.

粉碎的老瓷片，以星星点点的残片返归完整的个体。