【藝述心言】最矜貴的「地底泥」/ 鄭明輝 【Intimate Portrait】The muddy fingers of Reed Cheng
（2015年10月）水杯、茶壺、湯匙、花盆……唾手可得的陶瓷製品，尋常到用時也未必多看一眼，更遑論會去思考其背後的珍貴之處。「你可知道，當你手上拿著一隻陶杯，代表背後已另有三隻在燒製過程中報銷犧牲了。」陶藝家鄭明輝（Reed）透過「地底泥」——陶土，探索日常生活中我們認定的所謂「穩定、重複、尋常」。
泥與風景
走進位於JCCAC L3-03單位的「自得窰」，四周放滿半製成的陶藝作品，撲面而來滿是土地的氣息，與外面的石屎森林形成強烈對比。訪問當天，Reed正密鑼緊鼓為他與Unit Gallery合作的個人陶藝作品展《景。地》作最後衝刺。
這一系列的陶瓷作品，風格簡樸但別具內涵：高樓從亂繩堆上架起、站在孤島似大腦上的人凝神遠望、大塊厚實的陶泥只一角開個小洞伸出兩條腿……「我們身處的城市表面穏定，生活看似無甚變化，但事實並非如此。我們往往只看景物的表象，而忽略背後隱藏的危機和脆弱本質。又因為自我和獨立思維，大家就算看著同一件事物，每人內心所見的景象其實都不相同。」Reed希望作品能激發大家從多角度和更深入地解讀生活和社會現象。
泥與藝術
陶藝技法雖然不斷重複相同的姿勢、動作、程序，日復日、年復年，但就如古希臘哲學家赫拉克里特斯說︰「你不可能第二次踏入相同的河裡」，因不但河一直在變，你也在變。可能這便是陶藝吸引之處。陶藝技法五花八門，除了學習拉坯和手塑成型（包括手捏、泥條、泥板成型和倒模等），還要懂得各類陶泥的特性，及了解各種地域風格和美學。「例如中國的青花青瓷很有代表性，韓國推崇梅瓶造型，而日本則以柴燒和樂燒為主。」
原本從事出版業的Reed，2002年參加「自得窰工作室」在火炭開辦的興趣班，師從知名陶藝家兼工作室創辦人陳錦成，後再深造取得主修陶藝的藝術學位，2008 進駐JCCAC為「自得窰」開設石硤尾工作室，一直全職兼顧創作、教學和管理。他鍾情拉坯與樂燒技法：「雖然拉來拉去都是圓形，但極具挑戰性；加上失敗率高，過程中危機四伏，技術性的突破為我帶來很大滿足感。而且動手做的時候，精神非常專注，感覺無可媲美。」他強調，創作陶藝時，技巧、體能與精神都必須「進入狀態」，而且涉及時間成本，只有不斷鑽研與探索，才能體會箇中樂趣。
泥與文明
陶藝文化源遠流長，中國製陶技藝更可追溯至公元前逾千年。遠祖發現石塊或地面低陷處能盛水，然後製造與之對應的器具；又發現黏土火燒後變堅固，就發明了器皿「杯」；及後杯和瓶更提升成具觀賞價值的藝術品。
就算簡單平凡如一隻杯，亦在提醒我們一切來之不易。人與物、人與人、人與自然就為著這尋常用具交織在一起，而智慧、歷史，以及對美的堅持與追求，亦託付於這塊「地底泥」承傳下去。
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(2015 October) Cups, pots, spoons, vases…… everyday ceramic objects that we take for granted. So ordinary that we hardly pay attention as we use them, and never appreciate that they may be precious in their own right too. “Do you know that for every cup that you raise in your hand, three other never made it through the firing process?” Through clay, the raw material from which ceramics are made, ceramist Reed Cheng wants to challenge the deceivingly “stable, repetitive and ordinary” nature of our everyday experience.
Clay and the Landscape
Located at JCCAC L3-03, studio “I-Kiln” exudes an earthy aura with its generous display of half-finished ceramics, softening the concrete jungle in which they are trapped. On the day of visit, Reed was pulling out all the stops for his upcoming solo exhibition at Unit Gallery titled “Landscape”.
Reed’s new series of ceramics convey intriguing messages behind their deceptive simplicity: skyscrapers built on a messy pile of strings, a lone figure staring out into the horizon from an island which turns out to be a brain, a huge featureless chunk of clay with just a pair of feet sticking out form a tiny hole…… “Our deceptively repetitive life in a stable environment is just an illusion. We choose to focus on the superficial and to ignore inherent danger and underlying vulnerability. Our ego and individuality also mean that even as we look at the same landscape, each person’s internal perception of that is different.” Reed hopes this series of works will challenge the viewer to delve deeper into and gain multiple perspectives in understanding our everyday life and the social phenomena around us.
Clay and the Arts
The creative process of ceramics may seem repetitive as it involves practising the same gestures and procedures over and over again, but perhaps that also lies part of its attraction. As the Greek philosopher Heraclitus said, “no one can step into the same river twice” as not only is the river always changing, the person stepping into the river is also constantly evolving. Any aspiring ceramist will tell you that there are multiple techniques to hone, including throwing skills and hand building skills (like pinching, coil building, slab forming and molding). Plus one needs to master knowledge in the unique properties of different clays, as well as ceramics’ regional styles and aesthetics. “For example, blue and white porcelain is iconically Chinese, plum vase is typically Korean, while wood kiln and Raku firing are signature techniques in Japanese works,” Reed explained.
Reed originally worked in publishing but got hooked on ceramics in 2002 after enrolling in a hobby class at the I-Kiln Studio in Fotan, learning from its founder – renowned ceramics artist Chan Kam Shing. After gaining an arts degree majoring in ceramics, in 2008 he established a new studio for I-Kiln at JCCAC in Shek Kip Mei, assuming the role of full-time artist, teacher and manager. He is especially fond of throwing and Raku firing techniques. “Although throwing seems little more than making something round, it is very challenging due to the high possibility of failure. You have to be so focused when doing it. But it gives me such a great sense of personal satisfaction with each new breakthrough in perfecting my technique.” He adds that “getting into the mood” is key to enjoying the creative process in ceramics.
Clay and Civilisation
Ceramics has a long history, with pottery being made in China for thousands of years. Our ancestors discovered that stones of certain shapes were good as water-holding vessels and that malleable clay can be shaped and fired to create primitive bowls. Over time, ceramic utensils evolved to assume artistic and aesthetic significance and became a recognised art form.
There is a reason and significance for everything. A cup is not just a cup. Everytime you raise it in your hand, it is not only a drinking vessel but a precious object connecting people and nature (clay), formed by the culmination of wisdom and culture through the generations. Here’s mud in your eye.
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