Fiona WONG 黃麗貞

ON
CERAMICS
陶藝

Senior Lecturer / Subject Coordinator (Ceramics)
Hong Kong Art School
XX Discipline Curator (Ceramics)
香港藝術學院 高級講師 / 學科統籌 (陶藝)
XX陶藝學科策展人

In the 1980s, pottery studios started flourishing in Hong Kong, which later on led to the establishment of courses and programmes with specialisation in the area of ceramics at Hong Kong Art School, facilitating the cultivation of ceramics enthusiasts from all walks of life.

Focusing on the exploration of ceramic language, Hong Kong Art School promotes both traditional and contemporary skills and knowledge, advocating in-depth study of ceramic art with a wide range of methodologies. Teachers who come from various backgrounds, including fine art, making of functional objects, product design and art history, are able to offer students a solid foundation of knowledge, skills and interpretation. Throughout the learning process, students can also develop and enhance their pathways by overcoming the challenge and accommodating the new ideas coming from the artistic perspectives generated from different disciplines.

Apart from academic programmes, there were research and projects initiated by teachers and students, which brought inspiration to the School and the entire ceramics ecology in Hong Kong. “Timeless Wonder” and “The Missing Parts” reviewed on the connection between the primitive nature of ceramics and contemporary living, and proposed the strength ceramics has in each aspect. “My Soil, My Land” was the pioneer of community art projects with profound impacts. The project rediscovered the quality of natural soil and opened up a whole new world for ceramics in cultural and regional developments.

Since ten years ago, we have begun inviting graduates of the School to come back and teach. With fresh ideas in various fields, these young artists have brought new insights to the programmes and further broadened the scope of teaching and learning methodologies. Teachers and students stand side by side, studying the development of ceramics in this ever-changing world and getting it across different fields of contemporary art, such as sound and performing art.

In recent years, students tend to put more attention on their own perspectives, starting from personal emotions, and expanding to social, political, cultural and historical issues. How can ceramics, often being regarded as a medium existing outside the framework of contemporary art, continue to bring out its uniqueness and nourish mankind, has become the new challenge for teaching and learning in the future.

八十年代本地陶室發展蓬勃,成為香港藝術學院陶瓷專修課程成立的契機,培養出來自不同背景和年齡的陶藝愛好者。

藝術學院以陶瓷藝術語言的探索為核心,推展傳統和當代的技巧和知識,以寛度的開拓為方法,對陶瓷藝術作出深度的發掘;來自不同背景的老師,包括純藝術、器物創作、產品設計和歷史研究,為在知識、技巧和詮釋上提供穩健的基礎。在學習過程中,學院各個專修科目所建立不同的藝術角度,又為同學帶來挑戰與衝擊,為自已創立更穩固的路向。

在學術課程以外,過往一些自發性的師生研究和計劃,對學院以至整個香港陶藝生態帶來啟發,例如《造物忘年》、《拾遺補闕》等器物研究計劃,在陶瓷進入當代藝術的同時,再次檢視其初始性與當代生活的連繫,提出陶瓷兩條腿走路的優勢;《天水泥》是陶瓷社區藝術計劃的先導者,影響至深,重新發現自然泥土,讓陶瓷在文化和地域的範疇打開了一片新天空。

約十年前,我們開始邀請畢業生回校任教,這些在不同領域擁有嶄新思維的年輕藝術家,將新視野帶入課程,更廣泛開拓了上文提及的寛度,師生又並肩研習陶瓷在瞬息萬變的時代中之發展,讓陶瓷與聲音和表演藝術等當代藝術領域互相滲透。

近年同學傾向關注以自身出發的觀點,從個人情感宣言推展至社會、政治、文化、歷史議題。陶瓷這種經常被評論為存在於當代藝術以外的、側重於媒介的語言,如何繼續在時代中發揮其獨特性,滋養人類,成為未來教與學的新挑戰。

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