走在台灣陶瓷老街鶯歌，
各式各樣的陶瓷茶具、用品、陶笛、
結晶釉等作品目不暇給。
老街上還有座光點美學館，
結合在地陶瓷文化與當代藝術創作
所舉辦的各類藝術家聯展與個展。
徐均育＆蕭劭渝雙人聯展
令人印象深刻。
尤其蕭劭渝的作品
結合金屬、3D列印與手工製程，
保留材料本身的痕跡與質感，
透過堆疊、包覆、合併
完成剛柔並濟的巧妙創作。
其感知經由物質留下的痕跡，
等待觀者在觀看之中
形成自身的感受與聯想。
其中一件佛、鏡面與壓克力的作品 -
一尊通身剔透，
面向鏡子，背對外部的佛陀。
作者在闡述「 數位環境中，
對裝置的專注逐漸接近一種儀式性的持續行為 ;
沉浸於社群、直播與虛擬共感之中，
人的臉在光線前趨於靜止，
呈現出近似入定的狀態。」
而我感受的
是單純之觀照透徹入定的佛。
這是值得省思的創作。
Walking through Yingge Ceramics
Old Street in Taiwan,
I see an endless variety of ceramic tea sets, daily ware, ocarinas, and crystalline glaze works that are simply dazzling.
There is also the Yingge Spot Handcraft Gallery on the old street. It combines local ceramic culture with modern art, hosting group and solo exhibitions by various artists.
The joint exhibition by
Hsu Chun-Yu and Hsiao Shao-Yu
is impressive.
Especially in Hsiao Shao-Yu’s works,
which combine metal,
3D printing, and manual crafting processes while retaining the marks
and textures of the materials themselves, ingenious creations balancing rigidity
and flexibility are achieved through stacking, enveloping, and merging.
These perceptions, conveyed via the traces left by the material, await the viewer to form their own feelings and associations during the act of viewing.
One of them -
a crtstal-clear, transparent Buddha facing
a mirror with it’s back
turner to the outside world.
In the digital environment,
the focus on devices gradually approaches
a ritualistic, sustained behavior.
Immersed in social media,
live streams, and virtual resonance,
the human face grows still before the light, presenting a state akin to meditative trance.
What I perceive is simply
a Buddha of pure insight and profound meditative absorption.
This is a deeply reflective work.
