编者按：

由百陶会陶瓷教育中心主导的“转动的中心”工作营，汇聚国际陶艺大师首聚景德镇，破除跨文化壁垒，促进陶艺技艺、思想与资源联动，完善本地陶瓷教育生态。

携手三宝蓬美术馆联合筛选优秀作品，推出“蓬客景漂计划2025年度特展——转动的中心：从世界到景德镇”，以“创作-展示-传播”闭环惠及大众，是景德镇陶瓷文化“走出去、引进来”的实践。诚邀莅临三宝蓬美术馆，共赴这场跨国陶瓷艺术对话。

坐拥 111 万 Instagram 粉丝，韩国陶艺家 Kyeonghwan Lee 以 “陶艺视觉创作者” 的独特定位，打破了陶瓷艺术的传统边界。他将韩国陶瓷的温润传统与雕塑的体量感、表演的互动性深度融合，让拉坯不再是单纯的制陶工序，而是一场以呼吸、慢动作与静默为语言的行为艺术，最终构建起超越语言的跨文化共享体验。

With 1.11 million Instagram followers, South Korean ceramic artist Kyeonghwan Lee has broken the traditional boundaries of ceramic art with his unique positioning as a "ceramic visual creator." He deeply integrates the warm traditions of Korean ceramics with the sense of volume in sculpture and the interactivity of performance, transforming wheel-throwing from a mere ceramic-making process into a performance art that uses breath, slow movement, and silence as its language. Ultimately, he has constructed a cross-cultural shared experience that transcends words.

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访谈×Kyeonghwan Lee

三宝蓬美术馆：请简要描述你的艺术风格的起源和特点以及在陶艺方面的心得体会。

Please briefly describe the origin and characteristics of your artistic style, as well as your insights and experiences in the field of pottery.

Kyeonghwan Lee：我的艺术实践扎根于对传统陶瓷技艺的深切敬畏，同时通过拉坯创作探索当代表达。于我而言，陶轮不仅是工具，更是一种表演媒介——形态、节奏与情感在此交融。陶艺与绘画的双重背景塑造了我的创作视角，使我将每一件器皿视为功能性与诗意的共存体。

我常从顺应黏土的自然节奏开启创作——感受它的对抗、坍落与最终的和解。这种与材料的有机对话，构成了我创作的核心。多年来组织社区工作坊及现场拉坯演示的经历，让我习得清晰的工作逻辑与极强的应变能力——这些特质在快节奏协作中至关重要。

近期在国际博览会与艺术展的表演中，我专注于展现身体环绕陶轮的“舞蹈”，揭示人与材料间无声却深邃的联结。这种理念与景德镇的精神不谋而合：这里既是传统与创新的交汇地，更是全球艺术家分享理念、激发挑战、精进技艺的能量场。

通过本次展览，我渴望在集体创作中双向汲取能量，与多元文化背景的艺术家共同探索陶瓷艺术的当代诠释，在跨文化语境中突破材料的可能性边界。

My artistic practice is rooted in a profound reverence for traditional ceramic craftsmanship, while exploring contemporary expression through wheel-throwing. For me, the potter's wheel is not merely a tool but a performative medium — where form, rhythm, and emotion converge. My dual background in ceramics and painting has shaped my creative perspective, allowing me to regard each vessel as a coexistence of functionality and poetry.

I often begin my 创作 by attuning to the natural rhythm of clay — feeling its resistance, collapse, and eventual reconciliation. This organic dialogue with the material forms the core of my practice. Years of organizing community workshops and live wheel-throwing demonstrations have equipped me with a clear working logic and strong adaptability — traits that are crucial in fast-paced collaborative environments.

In recent performances at international fairs and art exhibitions, I have focused on showcasing the "dance" of the body around the potter's wheel, revealing the silent yet profound connection between humans and materials. This philosophy aligns with the spirit of Jingdezhen: a place where tradition and innovation intersect, and more importantly, an energy hub where artists worldwide share ideas, inspire challenges, and refine their craftsmanship.

Through this exhibition, I aspire to engage in mutual energy exchange during collective creation, explore contemporary interpretations of ceramic art with artists from diverse cultural backgrounds, and push the boundaries of material possibilities within a cross-cultural context.

Kyeonghwan Lee老师作品展示（向右更多）

三宝蓬美术馆：本次展览你作品的核心艺术理念是如何结合拉坯技法而创作的？

How did you combine the core artistic concept of your works in this exhibition with the technique of throwing on the potter's wheel?

Kyeonghwan Lee：我探索「控制」与「坍落」的张力关系——既运用传统轮制法创造秩序，又拥抱成型过程中的变形与不对称性，将其视作情感力量与存在痕迹的物化表达。

I explore the tension between "control" and "collapse" — utilizing traditional wheel-throwing methods to create order, while embracing deformation and asymmetry during the forming process, treating them as materialized expressions of emotional power and traces of existence.

三宝蓬美术馆：通过本次景德镇工作营你对景德镇的陶瓷传统文化有什么新的理解？

What new understanding of Jingdezhen's traditional ceramic culture has you gained through this Jingdezhen workshop?

Kyeonghwan Lee：景德镇是历史厚度与全球性创新的共生体。我以敬畏之心重读其千年制瓷传统谱系，更将此地将视为传统持续演变的实验场：在这里，文化基因通过当代实践获得新的转录方式。

Jingdezhen is a symbiosis of historical depth and global innovation. I revisit its millennium-old lineage of ceramic craftsmanship with reverence, and further regard this place as an experimental ground for the continuous evolution of tradition: here, cultural genes are transcribed in new ways through contemporary practices.

三宝蓬美术馆：通过本次展览有什么创新的方向？

What innovative directions can be identified through this exhibition?

Kyeonghwan Lee：融合韩国传统陶艺方法论与当代雕塑语言，设计可脱离文字阐释的肢体引导式创作课程，通过泥性感知、器物拓扑等模块，创造超越语言的共享体验。