Bone of Water
The original state of ceramics is shapeless clay and water, which, when combined and fired, form ceramics.” During firing, ceramics not only shrink but are also pulled downward by gravity, resulting in a final product that is both fragile and hard.
Focusing on the elemental components of earth, water, and fire, Lin’s first exploration is the “water” in ceramics. She imagines ceramics as “the life memory of water” or “dead water,” with ceramics symbolizing the bones of water, or the traces of movement that once existed.
Her process involves using fiber fabrics as the base structure, shaping them simply before coating with slurry. As the fabric dries and is affected by gravity, the fabric and slurry naturally take shape. The piece is then fired, again taking on a “natural” form.
Works like 2016’s Vortex and Flow feature fabric draped over square or circular forms, creating natural drooping effects. The slurry is poured over, sometimes applied with a brush to accentuate the appearance of flowing water.
After drying, the piece is inverted and fired again, allowing the kiln’s heat to further shape the work. The resulting pieces display the traces of water or droplets, formed by natural and artificial forces.
In Flow, fabric is soaked in slurry, folded into strips, dried, and coated with a thin layer of transparent glaze before being fired. The work is then broken and reassembled to mimic the flow of water, showing the dynamic movement of clear water or even the image of frosted ice.