In the descriptive material for the exhibition Space – Travel: Liou Chen-Chou Potteryat the Taichung Tun District Art Center, Taichung City in Taiwan (November 23, 2013 – January 19, 2014) the writer makes the traditional Eastern argument for the creative being a balancing act between man and nature (the more man the less nature, the more nature the less man) and this mantra is a good fit for Liou, but it might be changing:
“Earth and stone from nature had a particular meaning to people originally, and the presentation of original true look for the earth and stone materials may reveal the wonder and variations of nature, which is the fundamental concept of pottery art for teacher Liou Chen-Chou. He believes that the most significant presentation of creation is to depict one’s own subjective opinions towards the materials via the original look of these materials. Then, describe one’s sensations towards materials, as well as the mutual harmony or rivalry between yourself and the pottery materials.
“Simple geometric forms often result in strong visual impression, especially the variations of light and shadow created by the projection of light, which is even more abundant and subtle. The surface of pottery material features unique soil texture and glazed luster, where the effects of lights and shadows as a result of light projection, may allow for more abundant pottery forms with more charisma.”
The reference to soil texture, I believe, is key. It offers up fecundity as a central theme in Liou’s work, richly colored earth, sunbaked, awaiting planting. But there is another strong suggestive element and that is baked bread in the soft cushiony form. This is particularly evident in the wall piece pictured above. Some might look at this work and find it dated, a throwback to the 1970’s and it is in one sense. At the same time what drew me to his work is that while its vocabulary has been around for decades it retains a dignity and gracious presence through the refinement of form and line. The bread, if you will excuse the metaphor is still fresh.
But recently a new element has been added, stairs. It is surprising how much this has altered the language of his art. At a stroke these ascending shapes draw man and building into the lexicon while they erase references to soil and baking. Recently he has added clouds, perhaps to balance the rude shift that the stairways have caused, but it comes across as contrived, dressing up something too pure to be accessorized.
Liou is currently a professor of Ceramic Art, Craft and Design at National Taiwan University of Arts. His work has been exhibited in countries such as Taiwan, Korea, France, Canada, Belgium and the United States.
Garth Clark is the Chief Editor of CFile.
Above image: Clay form by Liou Chen-Chou. Photograph courtesy of Ting Ju Shao.
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Clay forms by Liou Chen-Chou. Photographs courtesy of Ting Ju Shao.
Liou Chen-Chou.
Visit Liou’s CV at Ambient Green Flow
Hi Liou, this is Conan I was wondering if you could maybe put like a Biography about you so that other people could see your history. Like where where you born?