畢業後, 因為銀行裡再沒有自動贈值的帳戶, 人自然變得有點實際。然後開始欣賞漂亮而對用家有一份體貼的東西, 亦同時能感受到 artisan 的 presence。 這個手吹玻璃碗, 從 analogue life 網站看到的, 其實好簡單, 也談不上 crazily amazing，可就是很耐看。
最近在讀兩本書 “The Unknown Craftsman”-Soetsu Yanagi, “The Hare with Amber Eyes”-Edmund de Waal, 很巧的是”The Hare”內有提及有關 “The Unknown Craftsman”作者的一點對美學的理論，Yanagi 推擬為何有些由 unknown craftsmen 手造的器物會那麼美, 那些籃子，布衣，花瓶，茶碗… 他說，”…they expressed unconscious beauty because they had been made in such numbers that the craftsman had been liberated from his ego.” 還未完全懂, 或者同意，但我對這句 liberation from his ego 好感興趣。我在景德鎮時也見到好多 artisans, 他們造的東西的量也實在是驚人，也很少數會談上 ego, 或是根本就absent, 我卻發現他們一直做一直做 其實變得有點麻木不敏感，少了好大的一份專注,知覺。所以說 achieve 這個 unconscious beauty, liberate from his ego 之前先要生活上有點浪漫加上對事物很 attentive. 就是要 be present - physically & mentally.
趁著六月初柏林的 DMY 展覽 想花時間再進化我的 project, 所以最近除了幫學哥哥 做他的陶瓷畢業設計以外，也正在做個茶壺, 一個真的可以用的茶壺，跟我的 FROM THIS TO THESE 是一家的。還要加印十本 “FROM THIS TO THESE - Progressive Copying” 的書，重新設計presentation set up. 今早還收到好消息，我(好幸運＋竟然)被挑出成了七個 New Talents Jury selection 之一。
早上得知時還未有太大的感覺，因為覺得自己只是還好，只是幸運，晚上開始覺得這個還真是一個不小的鼓勵，很感謝 berlin 那邊啊.. 現在要趕緊點做事。:P
加送學哥哥對做陶瓷一個很好的conclusion「要大膽 ，也要細心」
這句其實用那里都成！
我有一个从未公开说过的爱情半球理论，在赵胤胤陈数的婚礼答谢宴会上致辞时说了出来。我看来宾都挺爱听，就知道这理论浅显易懂，索性写篇小文，求得大家论证。
任何一个男人或女人在婚姻社会上只是个半球，必须捏合在一起才能滚动。但问题是男女之间的直径不一，很难保持一致。如果直径差距不大，完全可以磕磕绊绊地往前滚，滚着滚着棱角就磨平了，滚起来就舒服一些；如果直径相差过大，无论初始力有多大，滚着滚着就滚不动了，只好一拍两散，另觅新人。两人直径完全一致极为罕见，据说天下有一见钟情，一生没有拌过嘴，同日拉手升天者，此乃神仙。
爱情直径不是一种科学数据，无法测量，它是个文学表述，构成极为复杂，甚至随时可变。它由家庭背景、文化教育、个人性格、人生经历乃至癖好多重组成，甚至外力的出现都可能临时或永久改变其直径。一个人的直径是否坚强，实际上也有赖于个人的修养及对方帮助，所以两个人能不能很好地“滚球”，实际上是一场人生修炼。
人生“滚球”如路途平坦还比较容易长久，但一遇坎坷，捏起来的“球”的粘合力就会受到考验，途中还有大量的半球诱惑，往往这半球磁性还大，大部分的球都是在坎坷和诱惑中裂开的，怎样保持男女双方的直径尽可能地统一是爱情马拉松的课题。
爱是抽象的，情是具象的；爱情是自然的，婚姻是非自然的；在法律框架下经营爱情，是人类自己为自己出的难题。知道自己是一个半球，知道自己还有“直径”这样一个局限，就应该知道怎么对付对应半球的直径，把科学改造成为美学。
文字簡短直率易明，加上他的幽默感，讓我這個有閱讀注專困難人讀得笑咪咪的
好想再看他的書！
(Source: blog.sina.com.cn)
对西方人来说，东方的概念模糊，过去西方人认为亚洲的印度、中国、日本甚至埃及同属东方；但中国人认为东方就是中国。历史上五个中国人改变着影响着中国。第一位是孔子，他说一切都是仁爱；第二位是老子，他说一切都是道德；第三位是庄子，他说一切都是逍遥；第四位是孙中山，他说一切都要大同；第五位是邓小平，他说一切都要改革。
孔子是个好人，思想核心是仁，仁者爱人，讲究礼治，克己复礼。儒家思想特别适应国情，对国人的影响至深，尤其宋代以后，程朱理学将儒家学说推向政治，遂成为国人后一千年的行为准则；老子是个哲人，持道德成经，区区五千字，深奥莫测，几乎成为囊括宇宙万物的理论。道与德乃衡量人高低敏愚之标准，他主张无为而治，告知事物的两面，知其白，守其黑；庄子是个仙人，生活贫穷困顿，却鄙视富贵荣华，苏世独立，横而不流。小知不及大知，小年不及大年，庄子将无为推至极限，逍遥而游，不知所终；孙中山是个凡人，封建大厦将倾之时，顺势一推，借力给力，终帝制而启共和。他强调自由平等博爱，以为天下大势，顺之者昌，逆之者亡。其理想高远，其方略缜密，其教训惨痛；邓小平是个神人，大起大落，参禅悟道，对中国文化领悟至深，尺蠖之屈，以求伸也。逆境不悲，得势不喜，誓死不登峰巅，依旧可以一览众山小。
五个中国人熟知的名人，各领风骚。诸子百家，各有主张，儒家独大；山不在高，水不在深，为道谨言慎行；顺其自然，清静无为，庄子带众逍遥；天下为公，三民主义；创建有中国特色的社会主义。一切的一切，至今中国人还在一切的摸索之中。
伸延閱讀：西方的一切
五个犹太人改变了西方世界
Lunch, acrylic on paper, 15cm x 24cm, Sho Wakasugi
Normal ふつう
“Are the normal paintings finished? We think they are not. After impressionism, everybody began to think normal paintings are dead. The world has changed to eccentric way, always pursuing new things. But we think to appreciate normalness is the key; of our life not only of paintings.”
從他作品線條和大小可看出，每張畫所花的時間大概不多，以粗大筆線卻把情景描得清楚。我喜歡他作品的踏實和平靜，基本功好好啊，畫的氣氛好舒服。嘻嘻近來都特別欣賞不太誇張的東西，我想我應該在找讓自己grounded,好好做出 timeless 作品的 reference 吧。
Everyday I will use one of my favourite cups for my breakfast cup of tea. Here is the first.
以廢木回收重新車出小鳥裝飾是挪威設計師 Lars Beller Fjetland 的作品 RE-TURNED. 破椅子破桌子的把手跟桌腿，被遺在森林的樹根，每一只小鳥都是100% recycled wood.
我特別欣賞的是他把不同顔色的木粘來一起, 直接車出小鳥身上的details. 概念＋成品都非常讓人感動啊。一個設計師對廢物不捨，對廢物尊重，想辦法給它們一個 new life, 還得要做得誠實不造作和漂亮。 沒誇張 我崇拜。
還需好好學習哦..
source: http://thisispaper.com/
Wind installation Bloom Skin by WOW for Issey Miyake’s retail project
“…designers are only partly responsible for the sense of spaces and settings. Architects select, but others finish materials: builders, users and the forces of nature.
The architect’s hand, no less than the musician’s, moves with precision and passion. Caruso and St John insist that reason is not superior to intuition, nor is analytical thought more truthful than association and memory. These texts present both rationality and reminiscence. The latter has a role in design because cities and buildings will have ‘emotion’ only if the architect’s own feelings are not suppressed. (…)”
Source From article titled: Caruso St John- ‘The feeling of things’ and ‘Almost everything’
Seal sounds
Encounters at the End of the World, Werner Herzog
We come from nature and we return to nature; we are conceived and born; we live and die; we rot or burn and vanish into the earth. I rarely thought about such things when I was young. Now I do. I see a great cycle and I am part of it. For a little while, I am here. I did not exist before my time and I will no longer exist after my time. But in my time, I belong to the process of life on this planet; for a little while I am part of the organism of human beings, animals and plants that exists on this planet and that passes life on.
Looking back I realise that I have always taken plants for granted; they were part of my surroundings; they were self-evident and I enjoyed them as meadows, gardens or woods. That has changed. I have become more attentive to the plant world even though I never studied it and know only a few plants by name. But I like being with them. To me, their presence is quieting.
Plants embody everything that I like to have around me: presence, personality, character. They are supple and therefore strong, yet softly-spoken and gentle; they are fragrant and delicate; they have movement, colour, structure, scale and proportion. Plants are large in form, tiny in detail and always a single whole. Plants are beautiful in sun and rain, in tropical heat, fighting immortal cold, dancing in the wind, buffeted by storms.
Plants have long been part of the earth’s history. They come from afar. Their beauty is deep and beyond question. It can be overwhelming; their fragrance beguiling. I look at my garden and I see vibrancy, opulence, serenity; I see dignity, playfulness, infinite tenderness, the nodding kindness of Herb Roberti, and in the larger, beautiful picture, I discover small, modest dots of colour that enhance the luxuriant whole.
Landscapes mark the surface of the earth. Billions of plants react to sun, wind and weather, to heat and humidity, to drought and cold, to the nature of the soil in which they grow; they ceaselessly converge to form new plant societies and landscape ensembles. They are infinite in number and variety; they grow naturally and are influenced by us: oases, steppes, forests, wetlands, meadows, moors, landscaped parks. And there are gardens: herb gardens, kitchen gardens, vegetable gardens, flower gardens, rose gardens, pleasure gardens. Every name listed here evokes a distinct image; with each of them I associate specific lighting, smells and sounds, many kinds of rest, and a deep awareness of the earth and its flora.
A garden is the most intimate landscape ensemble I know of. It is close to us. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.
Enclosed gardens fascinate me. A forerunner of this fascination is my love of the fenced vegetable gardens on farms in the Alps, where farmers’ wives often planted flowers as well. I love the image of these small rectangles cut out of vast alpine meadows, the fence keeping the animals out. There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.
The “hortus conclusus” that I dream of is enclosed all around and open to the sky. Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens that I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the façades of buildings – sheltered places of great intimacy where I want to stay for a long time.
The centre of my pavilion is a garden; it invites us to gather around. We will meet in the garden. I am looking forward to the natural energy and beauty of the tableau vivant of grasses, flowers and shrubs that Piet Oudolf has created and will plant for our “hortus conclusus.” I am looking forward to the colours and shapes, the smell of the soil, the movement of the leaves, the scent of the Bugbane and Joe Pye Weed. Piet tells me that butterflies and bees love their smell”.
Peter Zumthor
Haldenstein, May 2011
