Solan CHIU - 趙素蘭
Solan Chiu is a distinguished Hong Kong-based contemporary ceramic artist, known for her imaginative and versatile creations that span sculptures, mixed-media works, and installations. As the daughter of a Lingnan-style artist from Southern China, Solan was deeply influenced by traditional Chinese art from a young age. Her early training in Chinese calligraphy, brush painting, and seal engraving laid a strong foundation, which she later expanded upon, earning a Diploma in Chinese Calligraphy in 2012.
Breaking away from traditional mediums, Solan has forged her own unique artistic path, blending Eastern and Western influences. Her distinctive style reflects her life experiences, including her early exposure to Western arts in Macau and her time spent in New Zealand during the 1990s. The result is a body of work that delights the senses with its unexpected forms, textures, lines, and vibrant colors.
Solan's artistry has garnered international acclaim, with her works featured in prestigious exhibitions and collections around the world. Notable collections include the Macau Museum of Art, the World Bank Group in Washington, D.C., and the Auckland Museum, where her solo exhibition "Solan's Clay Road" was inaugurated by former New Zealand Prime Minister Helen Clark. Other significant solo exhibitions include "The Learned Terra Cotta Parade" at City University of Hong Kong (2003), "Solan’s Totem" at the Hong Kong University of Science and Technology (2012), "Bing Ju Xing" at the Singapore Contemporary Art Show (2017), "Cityscape" at Giant Year Gallery (2018), and "Kafka" at the Personal Structures Exhibition in Venice, Italy (2019).
In 2012, Solan founded Giant Year Gallery, a prominent space dedicated to showcasing world-class artwork while also nurturing and promoting emerging artists, with a special focus on local ceramic talent. Through her gallery and her own artistic work, Solan continues to make a significant impact on the contemporary art scene, both in Hong Kong and internationally.
趙素蘭是一位著名的香港當代陶藝家，以其富有創意和多樣化的作品聞名，涵蓋了雕塑、混合媒材作品和裝置藝術。作為一位來自中國南方嶺南畫派藝術家的女兒，趙素蘭自幼深受傳統中國藝術的影響。她早期接受了中國書法、國畫及篆刻的訓練，並在2012年獲得了中國書法文憑，為她的藝術生涯奠定了堅實的基礎。
趙素蘭突破了傳統媒介的限制，走出了一條獨特的藝術道路，將東西方的影響融合在一起。她獨特的風格反映了她的生活經歷，包括她在澳門早期接觸西方藝術，以及她在1990年代新西蘭的生活經歷。她的作品給觀眾帶來了意想不到的形態、質感、線條和鮮豔的色彩，讓人賞心悅目。
趙素蘭的藝術作品獲得了國際讚譽，並在世界各地的知名展覽和收藏中展出。重要的收藏包括澳門藝術博物館、華盛頓世界銀行集團以及奧克蘭博物館，她在奧克蘭博物館的個展《素蘭陶土之路》由新西蘭前總理海倫·克拉克揭幕。其他重要的個展包括2003年在香港城市大學舉辦的《唯陶所為-趙素蘭陶真》、2012年在香港科技大學舉辦的《素蘭圖騰》、2017年在新加坡當代藝術展上的《兵車行》、2018年在巨年藝廊舉辦的《如城》，以及2019年在意大利威尼斯舉辦的個展《卡夫卡》。
2012年，趙素蘭創立了巨年藝廊，這是一個展示世界級藝術作品的知名空間，同時也致力於培養和推廣新興藝術家，特別是本地陶藝人才。通過她的藝廊和她的藝術作品，趙素蘭繼續在香港及國際當代藝術界產生深遠的影響。
Wheel of Hope 希望之輪
Size尺寸
(Installation 装置)
Acrylic Cylinder 亞克力膠管with LED Light
90cm(Diameter)×
200cm(Height)
Steel ElectricTurning Wheel鐵電轉盤
80cm(Diameter)x27cm (Height)
Material 素材
Chinese Calligraphy (Cursive Script) on paper .紙本 (草書)
Solan Chiu 趙素蘭 2012
Wheel of Hope 希望之輪 . Solan Chiu 趙素蘭
In Tibetan Buddhist tradition, prayer wheels are used as a means of spreading spiritual blessings and well-being. The wheels, inscribed with mantras, are spun by practitioners to accumulate merit and wisdom and to purify negative karma. Solan's modern adaptation echoes this ancient practice, with her Chinese calligraphy symbolizing prayers and positive intentions. As the acrylic cylinder with turns, it mimics the motion of traditional prayer wheels, creating a continuous cycle of positive energy. This motion not only reflects the perpetual flow of prayers in Tibetan culture but also signifies the endless possibilities of transforming adversity into hope.
在藏傳佛教傳統中，轉經輪被用來傳播精神祝福和福祉。這些輪子上刻有經文，由修行者轉動以積累功德和智慧，並淨化負面業力。趙素蘭的現代改編彷彿古老的做法，她的書法象徵禱告和正面意圖, 當亞克力膠圓筒轉動時，模仿傳統的轉經輪，創造一個不斷流動的正能量循環。這個轉動不僅反映了藏族文化中祈禱的永恆流動，也象徵著將逆境轉化為希望的無限可能。
Artist Statement
'The Chinese calligraphy work was written during my 21-day isolation in a Hong Kong hotel room in early 2022, amidst the COVID-19 pandemic. Alone in my room, I focused on maintaining a positive outlook, turning a potentially disheartening experience into one of reflection and creativity. While many might have felt down during such an isolation period, I chose to channel my energy into writing poems day and night onto twenty-one rolls of papers, infusing it with hope and resilience, reflecting the very essence of transforming adversity into positivity."
"By integrating this spiritual symbolism into a contemporary art piece, I aim to bridge the gap between tradition and modernity, inviting viewers to engage in a meditative experience. I hope this installation prompts viewers to see it as a modern meditation turning wheel, conveying a message of hope, strength, and positivity amidst life's challenges. I encourage viewers to appreciate the beauty of my calligraphy and also remember that --All of us can relax and concentrate to accomplish the things we want to do, even in times of great difficulties, and turn the negative into the positive. Tomorrow will always be better!"
藝術家自述
“我這些中文書法,是於2022年初 COVID-19 新冠疫情大流行期間，在香港的酒店房間中隔離了21天書寫的。獨自一人，我努力保持積極的心態，將這段可能令人沮喪的經歷轉化為反思和創作的機會，儘管許多人在隔離期間可能會感到消沉，我選擇將精力投入到書寫詩詞上，日夜不停地將詩句寫在二十一卷紙上，將希望與堅韌注入其中，這正是將逆境轉化為積極力量的精髓所在。”
"通過將這種精神像徵融入當代藝術作品中，我旨在彌合傳統與現代之間的鴻溝，邀請觀眾參與冥想體驗。我希望這個裝置，能激勵觀眾，將其視為現代冥想轉輪，在富挑戰的生活中，傳遞希望、力量和積極性的訊息。我鼓勵觀眾欣賞我的書法之美，並同時緊記 --我們每個人都可以放鬆和集中精神，完成我們想做的事情，即使在極大困難時期，也可以將負面轉變為積極的正能量。明天一定會更好！”
“這件作品創作於2022年初 COVID-19 新冠疫情大流行期間，我在香港的酒店房間中隔離了21天。獨自一人，我努力保持積極的心態，將這段可能令人沮喪的經歷轉化為反思和創作的機會。儘管許多人在隔離期間可能會感到消沉，我選擇將精力投入到書寫詩詞上，日夜不停地將詩句寫在二十一卷紙上，將希望與堅韌注入其中，這正是將逆境轉化為積極力量的精髓所在。”
Bing Ju Xing 兵車行
Size尺寸
Seal 印
Each 2cm (w)×2cm(d)×6cm(h)
Seal Clay 封泥
3cm(w)×3cm(d)×0.5cm(h)
Installation 組裝
488cm(w)×43cm(d)×6cm(h)
Material 素材
白瓷 / porcelain / 磁器
Solan Chiu 趙素蘭 2012
Bing Ju Xing 兵車行 . Solan Chiu 趙素蘭
A poem by Du Fu of the Tang dynasty. It tells the story of A.D. 729. In order to enforce his army to defend the country against the invasion of border tribes from the Northwest, Emperor Ming drafted a hundred thousand men. His decision had left the farms unplowed and many families broken. Society was in chaos. Du Fu eye witnessed the event and wrote the poem to express his anger and anguish. The poem has 222 words. Each and every word seems to represent an accusation.The poem comprises 204 seals made from porcelain. The seals are made using the bisque firing at 920°c until the porcelain is hard as stone and the carvings are made in oracle bone and bronze scripts. The seals are then applied onto pieces of porcelain to make “sealing clays” and are fired at 1260°c.
唐朝詩人杜甫所寫七言古詩。按杜甫詩書注：謂明皇用兵吐藩，民苦行役而作也。詩中描述了唐開元十五年，為防范北方吐蕃入侵，明皇徵兵十萬以抵抗，造成田園荒蕪，生靈塗炭，民怨沸騰的社會現象。全詩長二百二十二字，讀來字字控訴，悲慘撼動人心。 全詩以瓷土捏制成印章共二佰零四枚。素燒920度至接近石材硬度，以金文或甲骨文佈局篆刻。再打印于瓷土上成「封泥」。高溫1260度燒成。
Artist Statement
This installation project began in 2012, sparked by my discovery of an ancient seal while studying for a diploma in Chinese calligraphy. The seal inspired me to use clay as a medium for engraving this set of ancient seals, with the hope of capturing the most authentic appearance of ancient seals. The seal's profound symbolism propelled me into an intense, nine-month journey of research and creation, during which I worked tirelessly day and night.
My artistic process has always been driven by sincerity and a deep sense of purpose, using my own "language" to fully express my ideas. This set of ceramic seals, created in 2012, is a poignant reflection on the devastating consequences of war, inspired by Du Fu's poem "Bing Ju Xing" from the Tang dynasty. I hope viewers not only appreciate the beauty of this artwork but also grasp its deeper message—that we should learn from the past, recognize the horrors and cruelty of war, and be inspired to hope collectively for lasting peace in our world.
藝術家自述
" 這個裝置創作,源於2012年，當時我在唸中國書法文憑課程時上篆刻課,一枚古代的「封泥」，深深觸動和激發了我的靈感,诀定重拾篆刻刀,用泥土作媒材,構思這一套装置,希冀重現「印」的最原始面貌。這枚印章深刻的象徵意義，推動我投入了一段為期九個月的密集研究與創作之旅，在此期間，我夜以繼日地不懈工作。
我的藝術創作過程一直由誠摯與深刻的使命感所驅動，並運用自己的“語言”來充分表達我的思想。這套於2012年創作的陶瓷印章，是對戰爭災難性後果的深刻反思，靈感源自唐朝杜甫的詩《兵車行》。通過這件作品，我希望觀者不僅能欣賞其藝術之美，更能領悟其深層的訊息—''我們應從過去中學習，認識到戰爭的恐怖與殘酷，並激發起對世界長久和平的共同期盼。"
Echoes of Ancient Epistles 古箋新賦 . Solan Chiu 趙素蘭
Drawing inspiration from the ancient letter papers of the Ming and Qing dynasties, particularly the renowned Ten Bamboo Studio Catalogue of Letter Papers, ceramicist and calligrapher Solan Chiu breathes new life into these historic designs, merging timeless artistry with modern craftsmanship through a series of ceramic plates.
Letter papers, originally simple writing sheets, evolved into objects of beauty as decorative patterns were introduced with the rise of printing techniques during the Tang dynasty. By the Ming and Qing eras, refined scholars sought out finely crafted letter papers adorned with intricate designs, compiling them into exquisite albums for appreciation.
The Ten Bamboo Studio Collection of Letter Papers, printed in 1644 under Hu Zhengyan during the Chongzhen reign of the late Ming dynasty, is the most extensive and treasured example of such collections. A masterpiece of painting, engraving, and multi-color printing, it embodies the peak of ancient Chinese artistry in printing, passing down the essence of aesthetic elegance through centuries.
In her work, Solan Chiu painstakingly revives these ancient motifs on hand thrown pocelain plates. After the initial bisque firing, she delicately applies the intricate designs onto the glazed surface, then fires the plates again at high temperatures. This forms a hazy texture which mimics an effect similar to that on xuan paper. This process captures the essence of timeless artistry, evoking a sense of continuity between eras. By blending antique motifs with modern ceramic techniques, Chiu's work invites viewers to reflect on the enduring beauty of cultural heritage, showcasing the harmonious coexistence of the past and present.
古箋新賦 . 趙素蘭
受明清時期中國古代信箋啟發，靈感來自《十竹齋箋譜》，陶藝兼書法家趙素蘭,將歷史藝術與當代工藝相結合，創作了一系列繪畫了古畫的現代陶瓷碟作品。
箋譜起源於箋紙，唐代起印刷術發達，日常用來寫信記事的箋紙也被印上了裝飾圖案。有些風雅人仕還挑選製作精良帶有圖案的箋紙，集結成冊，印成箋譜，專門用來欣賞。
《十竹齋箋譜》於1644年明代崇禎年間，胡正言所編印。它不但是收錄圖案最多的一部古代箋譜，更是集明代繪畫、雕刻、印刷技術於一身的珍貴傳世作品，代表了古代彩色套印技術的最高水平。
趙素蘭精心將這些古時圖案重現在手拉的瓷器碟上。碟子在初次素燒後，她將圖案繪於釉面上，然後在高溫下燒製。這過程形成了朦朧的質感，模仿了類似畫於宣紙上的效果，希望能重現這些古代信箋的美麗。這一過程捕捉了永恆藝術的精髓，喚起了各個時代之間的延續感。通過將古代圖案與現代陶瓷技術相結合，趙素蘭的作品邀請觀眾反思文化遺產的持久之美，展示過去與當代和諧共存的魅力。
Artist’s Statement
Forty-five years ago, my father left me a stack of Rongbaozhai woodblock-printed letter papers. I was deeply impressed by the elegance of ancient Chinese culture, where even letter paper was printed so beautifully with pictures. I could not put them down. I later learned that letter papers with pictures from the Ming and Qing dynasties were also produced by Duoyunxuan in Shanghai, and in Anhui, there was the Ten Bamboo Studio Catalogue of Letter Paper, a collection of three hundred colorful pictures in four volumes, compiled and printed by Hu Zhengyan. This collection was originally printed during the Chongzhen period of the Ming dynasty, but it was lost over time.
With the hope of preserving and passing on this masterpiece, Lu Xun and Zheng Zhenduo spent seven years reprinting it using traditional methods during the Republican era. By the time it was published, Lu Xun had already passed away. During a trip to Beijing, I stumbled upon a volume of this reprinted collection and immediately acquired it, feeling as though I had unearthed a long-lost gem.
My affection for these ancient letter papers runs deep, and I selected some illustrations from this collection as my muse for creating ceramic plates. After bisque firing, I paint these designs onto the glaze, then fire them again at high temperatures. The result is a soft, hazy texture that mimics the ethereal quality of ink on rice paper, bringing to life the beauty of these ancient epistles in a new form.
藝術家陳述
四十五年前，父親留給我一疊榮寶齋木刻版畫信箋。我對古代中國的優雅文化深感驚訝，連信箋上都印著這麼美麗的圖畫，讓我愛不釋手。後來我了解到，明清時期的圖畫信箋也出自上海的朵雲軒，而安徽則有《十竹齋箋譜》，這是一部由胡正言編纂並印製的四卷共三百幅彩色圖片的合集。該合集最早印於明代崇禎年間，但隨時間流逝而遺失。
為了保存和傳承這一傑作，魯迅和鄭振鐸花了七年時間，採用傳統方法在民國時期重新印製。在這部作品出版時，魯迅已經去世。有一次，我在北京旅行時偶然發現了這部合集的一卷，立刻購買，彷彿發現了寶藏。
對這些古代信箋抱有深厚的熱情，我選擇了這部合集中的數十幅圖畫作為我創作陶瓷碟的參考。在素燒後將其繪畫於釉面上，然後在高溫下燒製。這一過程形成了朦朧的質感，模仿了類似畫於宣紙的效果，希望能重現這些古代信箋的美麗。
Echoes of Ancient Epistles 古箋新賦
Size尺寸
Porcelain Plates 瓷器碟
with glazed pictures 釉色畫
20cm Diameter 6cm Height
White Wooden Frame 白色木框
30cm(H) x 30cm (W)x6cm(H)
Set of Nine White Wooden Frames with Plates (mounted on Wooden Panel covered by Black Cloth)
一套九隻白色木框連碟(裝置在黑色布包木面板上)
108cm x 108cm x 14 cm
Solan CHIU 趙素蘭
2020
Mysterious Flower 神秘的花
Size尺寸
40cm(l)×10cm(w)×28cm(h)
Stoneware 石器
Solan CHIU 趙素蘭
2024
Mysterious Green Fish
神秘的綠色鱼
Size尺寸
42cm(l)x10cm(w)x20cm(h)
Stoneware 石器
Solan CHIU 趙素蘭
2024
Mysterious Blue Fish
神秘的藍色鱼
Size尺寸
46cm(l)x10cm(w)x17cm(h)
Stoneware 石器
Solan CHIU 趙素蘭
2024
Big Plate (Bronze)
大碟(青銅色)
Size尺寸
46cm(l)x10cm(w)x17cm(h)
Stoneware 石器
Solan CHIU 趙素蘭
2024
A Journey Through Time 穿越時空的旅程 . Solan Chiu 趙素蘭
In her latest series, Solan Chiu transports us to a mysterious future world, where the boundaries between fish, flowers, and stone blur into a dreamlike abstraction. Inspired by a vision of traveling through time, she imagines a landscape where familiar forms take on new, enigmatic qualities.
These ceramic pieces embody this ethereal journey, each one crafted with a unique blend of imagination and artistry. The fish-shaped artworks, rendered in a spectrum of glazes—from serene blue to vibrant green, yellow, orange, and golden bronze—defy ordinary perception. Their surfaces are intricately textured with patterns of petals, flowers, and plants, merging elements of nature into their forms. The result is an otherworldly collection of creatures, both recognizable and alien, as if seen through the lens of a distant dream.
One of the standout pieces presents a red-gold flower perched on what initially appears to be a rock. Yet, upon closer inspection, the black rock itself blurs the lines of reality, revealing qualities that suggest it too could be a flower. This duality evokes a sense of wonder, challenging the viewer to question the nature of the forms before them. Are they flowers? Rocks? Or perhaps something entirely different—creatures or entities from an unknown realm where the distinctions between natural elements dissolve?
In addition to these sculptures, Chiu has created a series of functional ceramic vessels. One such piece is a big plate, its surface richly textured with intricate details of flowers and petals, glazed in a warm gold bronze hue. These vessels, while serving a practical purpose, are imbued with the same abstract qualities as the sculptures, transforming everyday objects into works of art that invite contemplation.
Through these pieces, Solan Chiu challenges us to see beyond the familiar, to embrace the mysterious beauty that lies in the unknown, and to appreciate the delicate balance between reality and imagination. Her use of black, bright red, golden blonze, and otherworldly glazes further enhances the surreal quality of the collection, adding a touch of warmth and vibrancy to her futuristic vision. These ceramics are more than just artworks; they are a glimpse into a world where nature’s forms evolve into something new and wondrous.
趙素蘭的抽象陶瓷藝術作品：穿越時空的旅程
在她的最新系列作品中，趙素蘭帶我們來到一個神秘的未來世界，在那裡魚、花與石頭之間的界限模糊成夢幻般的抽象形態。受穿越時空的想像啟發，她勾畫出一個熟悉形態變得神秘而難以捉摸的景象。
這些陶瓷作品體現了這次虛幻的旅程，每件作品都融合了獨特的想像力和藝術造詣。這些魚形作品以不同的釉色展現——從寧靜的藍色到鮮豔的綠色、黃色、橙色和金青銅色——顛覆了普通的感知。它們的表面以花瓣、花卉和植物的圖案精緻地紋飾，將自然元素融入其形態中。結果是一系列既熟悉又異域的生物，彷彿透過遙遠夢境的鏡頭所見。
其中一件突出作品展示了一朵紅金色的花，靜靜地矗立在一塊看似岩石的物體上。然而，當你仔細觀察時，這塊黑色的岩石自身也模糊了現實的界限，展現出它也可能是一朵花的特質。這種二重性引發了觀者的驚奇，挑戰他們去質疑眼前形態的本質。它們是花？是石頭？還是某種完全不同的事物——來自一個未知領域的生物或實體，在那裡自然元素之間的區分已經消失？
除了這些雕塑作品外，趙素蘭還創作了一系列功能性的陶瓷器皿。其中一件作品是一個大盤子，其表面以花卉和花瓣的精緻細節紋飾，並施以溫暖的金青銅色釉。這些器皿雖然具有實用功能，但同樣具有雕塑作品的抽象特質，將日常物品轉化為引人深思的藝術品。
通過這些作品，趙素蘭挑戰我們超越熟悉，去擁抱未知中的神秘之美，並欣賞現實與想像之間微妙的平衡。她運用黑色、亮紅色、金青銅色及其他超現實的釉色，進一步增強了這個系列的夢幻品質，為她的未來主義視野增添了一抹溫暖與活力。這些陶瓷作品不僅僅是藝術品；它們是一個世界的窗口，在這個世界裡，自然的形態進化成為全新而奇妙的事物。