澳大利亞國立大學(xué)教授  詹妮特?迪布斯Janet DeBoos

When an artist is exposed to new ways of working, new information and new ideas, it is impossible for them to disregard the creative curiosity that they experience, but it is a fact that they will read this experience from their own position and history. In this process- although some things may be lost- others are gained. Freed from the expectations of history and working without experience, it is possible to read from a different perspective, and to ”break the rules”.

International artist residencies are one of the most effective ways to allow this exchange of ideas, this exposure to other cultures and to allow artistsic growth. An opportunity arose with another residency organised by Jin WenWei from Jingdezhen, and Liling Valley Ceramics Museum. A group of both Chinese and international artists could choose where they wanted to work, from a selection of traditional ceramic centres. I chose Longquan.

I am affected by what is directly around me. I steal/ copy things I see, and I make work for myself in the first instance. Then I repeat ideas, often drawing from several different cultures/ techniques/ ideas, developing a kind of hybrid practice, that is in part quite culturally specific- but remains borderless.

對于藝術(shù)家而言，當(dāng)他們接觸到新的工作方式、新的信息或新的想法，他們會有其他的收獲比如從不同的角度去閱讀，并“打破規(guī)則”。

“國際藝術(shù)家派駐服務(wù)”是一種有效的方式，讓藝術(shù)家們互相交流觀點(diǎn)，接觸到其它不同的文化。景德鎮(zhèn)和醴陵市陶瓷博物館開展提供了這樣一次機(jī)會：為中國和國際藝術(shù)家提供了一組工作室，分別在不同的地區(qū)，從傳統(tǒng)的角度考慮我選擇了龍泉。

在那里，我被周圍的瓷器所感染。我模仿制作看到過的瓷器，從幾種不同的文化/技術(shù)/想法中汲取靈感，加入自己的想法后，碰撞在一起。從某種文化程度上來說，藝術(shù)沒有國界。