The Palace of Shattered Vessels II

Light Catchers

Curator's words

In 2019, FROOTS Gallery exhibited the extrordinary project of “The Palace of Shattered Vessels -- Chinese Porcelain and Contemporary Jewelry”. In 2020, “The Palace of Shattered Vessels” has yield new fruit- a new project, which is the continuation of the first one.

 This new project reflects the paramount significance that FROOTS attaches to cultural exchange.  We encourage international artists to research, debate and recreate from diverse angles the theme “East-West Exchange.” 

As the leading Chinese gallery of art jewelry, FROOTS aims to introduce this art form to a large audience. Hence, we paid special attention to pricing.  Reaching out to the public at large, our thirty seven selected artists created exquisite yet affordable pieces of art. These jewels are “Light Catchers”, which will help people search for light and build a better world.

2019年,FROOTS Gallery 推出了 “碎器之宫:老瓷片与当代首饰” 项目。2020年,项目成功进行了第二期 “碎器之宫:追光者” 。

FROOTS Gallery认为国际文化交流对推动艺术发展有着深远影响。此次“碎器之宫”第二期项目的主题,从第一期的老瓷片元素出发而扩展到普遍中国文化元素,中国首饰艺术家也可在西方文化中寻找创作源泉。参与项目的13国37位艺术家以多样视角对 "中西文化对话 "这一主题进行研究、辩论与再创作。

作为国内艺术首饰领域的领军画廊,FROOTS Gallery旨在扩大这一艺术形式在公众间的传播。因此,“碎器之宫:追光者”用“爱”定价。只有当更多人有能力拥有第一件艺术首饰,它才能真正与生活发生对话。有爱的作品,创作它的艺术家是“追光者”,佩戴它的人是“追光者”,祈望我们共同追寻光明,建造一个更美好的世界。

 

Andrea Wagner

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。

Anna Talbot

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。

Bruce Metcalf

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。

Camilla Luihn

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。

Deganit Shocken

Doris Betz

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。

Einat Leader

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。

Ela Bauer

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。

Felieke van der Leest

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.

Frank Chai

Georg Dober

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。

Hadas Levin

Heng Lee

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。

Jun Hu

Junghoo Kim

Karin Seufert

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。

Kim Buck

Koen Jacobs

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。

Margit Jaschke

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。

Mari Ishikawa

Maria Rosa Franzin

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。

Mengnan Qu

Merav Roth

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。

Mikkiko Minewaki

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。

Mingrui Sun

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。

Myung Urso

Sayumi Yokouchi

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。

Shirly Bar-Amotz

Taidi Wang

Takayoshi Terajima

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?

Tanel Veenre

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。

Tore Svensson

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。

Trinidad Contreras

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。

Vered Kaminski

Xian'ou Ni

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。

Yasmin Vinograd

Yi Shen

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