A World Made Light – From Micro Texture to Macro Landscape The Infinite Journey of Hsu’s “Rebellion against Ceramics”
Giving an impression as a person not so meticulous about details, Hsu is actually always polite and cautious about what to say and do. Tough modest and gentle, he is so stubborn with what he finds important that nobody can change his mind. However, his stubbornness has also “redefined” our original understanding about many things, including our understanding about the expression of ceramic art.
In 2007, I worked with Hsu for the first time in the holding of his solo exhibition, Forum for Creativity in Art: Theater of Clay. When I first saw a theater-like cluster of high-temperature ceramic rings each taller than a man placed at the center of the exhibition venue and knew that viewers would be invited to walk freely among the rings, my heart was filled with indescribable worries. By contrast, Hsu did not show any hesitation or worry like mine during the setting up of the exhibition except for some occasional frowns and moments of silence in deep thoughts. Where did he find his confidence? I was really curious.
In 2019, I worked with him for the second time in the exhibition, Yunghsu Hsu: A World Made Light. During the curation and preparation period, I paid several visits to his studio and listened to him explaining details about material application and innovation, kilning experiments, and structural enhancements of his works. From these visits, I came to the gradual realization that his confidence actually came from his strong will power that drove him to continue experimenting and overcome everything in front of him.
It is said that one’s personality decides his or her destiny; we can said Hsu’s “breakthrough” is a “destiny” created by his competitive personality.
Hsu’s father moved from Penghu to Kaohsiung. In 1955, Hsu was born in Kaohsiung. When he was in his third year of junior high school, he got injured in a major sports contest and, as a result, could not continue with his education as a professional athlete. After one year of studying at Kaohsiung Municipal Senior High School, he decided to transfer to Pingtung Normal Junior College by taking a transfer examination for becoming a teacher could help with the financial troubles his family encountered back then.
Driven by his competitive personality and desire to do more than others, Hsu also became a track runner and a skilled Chinese zenith player while he was working as an elementary school teacher. In 1986, he started to focus on using clay for visual art creation. In 1998, he decided to turn a new leaf in his life at the age of 43 by quitting his 22-year teaching job and became a professional ceramic artist.
For a “self-taught ceramic artist halfway in his life”, Hsu is really “exceptional” with all his achievements. However, it is imaginable how Hsu was eager than anyone else to “live life to the fullest before the body is engulfed by illness” when he was caught in between inner and external stress and haunted by his rheumatic arthritis for more than 20 years. The difficulties along his journey of artistic creation pushed him to be more focused and determined than many academically trained peers.
After long years of kneading and working laboriously on clay, Hsu has to use waist support to protect his already problematic lumbar spine. Making the best use of each day, Hsu plans his daily work in a very careful and detailed manner and meticulously manages the high costs of gas, materials, and manpower at his studio. However, when he starts the creation of a work, he will completely put aside all these concerns of “rationality” and just let his hands guide his heart and soul to move forward in the journey of artistic creation. (Fig1)
Returning to the Original Close Connections between “Hands” and “Clay”
After the introduction of international modern ceramic art into Taiwan, people here started to gradually realize that “modern ceramic art” had taken “ceramics” to the level of diverse and non-practical imagination. Now in the era of “contemporary ceramic art”, artists have started their endeavors to transcend the characteristics of “ceramics” as a medium, challenge its original forms and shapes, and even deviate from the original nature of “clay”.
Hsu is always curious and dislikes repeating what he has done. After he realized “the so-called ‘artistic creation’ is almost completely done ‘in the draft’ and the next step is just to implement the written plan, which can no longer bring him the satisfaction he desires in artistic creation….” , he started to discard his obsession with “appearance” and seek something more lasting at spiritual level in his works.
According to Hsu, the period from 2002 to 2006 is the most influential transition period in his artistic creation. In 2003, when he was almost 50 years old, he started his further study at the graduate school of Tainan National University of the Arts, where he read extensively about philosophy (aesthetics) and engaged continuously in inspiring exchanges with his teachers and peers. He also developed the habit of writing down his inner thoughts and imagination, learning different methods of self-exploration and self-reflection.
The philosophy courses at school guided him to the theories of Western masters, such as Gilles Louis René Deleuze, Michel Foucault, and Maurice Merleau-Ponty, teaching him how to look for answers through repetitive dialectical verification and self-questioning.
“Dialectical thinking” became the dominant theme of his graduate school life. Hsu absorbed the observation and analysis methods of the East and the West, which helped to liberate himself from what had troubled him for many years in his artistic creation.
In the spring of 2005, he worked in Rochester Institute of Technology (R.I.T.) as an artist-in-residence and encountered the turning point in his artistic creation . Seeing the works by Richard Serra, Fred Sandback and other artists opened up a brand-new world in front of him with their ingenious use of simple materials to create magical spaces that brought overwhelming visual and psychological impact on viewers.
Stimulated by their works, Hsu started to have self-doubts about his own ceramic art. His anxious eagerness to achieve breakthrough threw him into extreme exhaustion. He “aimlessly” pressed and kneaded some small “units” to seek inspirations , which enabled his ceramic art by accident to return to the original close connections between “hands” and “clay”. (Fig 2)
In the following years, Hsu used these spontaneously made “units” sporadically placed onto large-size ceramic bodies to create works of diverse forms and shapes. Sometimes, they look like oyster shells densely aligned like fish scales or like broken egg shells piled up together. Sometimes, they bear resemblance to freshly cooked and plump rice grains or unfurling spathes of peace lilies. They are called “units” by Sean C.S. Hu , a curator, and “fungi” by Bo-cheng Shen. Jow-Jiun Gong nicknamed them “spores” or “frog eggs” . They are like countless “molecules” from a dissolving effervescent tablet, giving a strong impression of something organic.
With these units of varying curves and depths, Hsu is able to deconstruct the heavy and thick volume of “clay” into larger, lighter, and thinner structures. The fragmented form composed of multiple units blurs the “edges” of his works, enabling the “clay” to evolve into more intricate forms such as “bonding”, “overlapping” and “merging”.
In Hsu’s own description, the composition of these “units” is biomimetic, inspired by the results of “weaving” or “nesting” of creatures in nature. Such composition can draw viewers’ eyes to the organic “holes” of these units, welcoming them to come inside like a nest or lair welcoming back its inhibitors. (Fig 3)
Hsu’s wife, Lin Hsiu-niang, is also a ceramic artist. The couple are really excited by the occasional sight of bats or birds building nests in Hsu’s works for this means his works really live up to his intention to make “nests” out of his works. This intention gives a spiritual warmth to Hsu works after their physical warmth gradually died down the moment when they were taken out of the kiln.
In 2018, after Hsu developed a mature command of his “units” series, he started his attempt with “seam lines”. He put thin strips of clay onto the surface of the blocks composed of his “units” before firing. At first sight, these “add-on” strips caused eerie “fragmentation” of the original integrity of the works’ “composition”. However, after the works were taken out of the kiln, the strips became something like thin and light “cloth” softly and smoothly covering the surface with beautiful patterns of cracks. (Fig 4)
Hsu also engaged in “on-site creation” to achieve more intensive visual tension. He used fishing lines to hang numerous “units” in midair as if they were meteors or debris floating in an immense universe. (Fig 5)
For ceramic artists, it is not easy to transcend the limitation on work size imposed by the size of the kiln. Hsu focuses more on the characteristics of the “material” instead in order to incrementally transcend the limitation and create works of larger scale. Maybe that is the only reason why he is able to maneuver the “clay” so magically like a wizard.
A Seemingly Fragile but Actually Powerful World
In his statement published in ACT: Art Critique of Taiwan in 2006, Hsu wrote, “When I chose clay as the medium for my artistic creation, I asked myself what kind of relationship it would develop with me and my art if I put aside issues such as materials, techniques, and tools.” Obviously, his inclination toward this material was not blindly made based on the consideration of his command of skills or his preferences but on some deeper thoughts.。
After years of not only observing the effects of kneading, extending, pressing or piercing on his clay but also testing the hardness of his works after firing at different temperatures, Hsu has learned how to use the lightness and thinness of fired clay to create the “breathing presence” of his works. Thanks to his bold investments, his studio is now equipped with several customized ultra-large kilns. As his ambition grows along with the size of his kilns, his works have gradually developed the tendency to defy gravity and grow into astonishing, unusual “landscape”. (Fig 6. The venue of the exhibition of “Transcending Boundaries”, 2006 )
Down-to-earth by personality, Hsu has been obsessed with bisque firing, which can render natural and mild colors that come from crystals of refined minerals within the clay instead of those artificial colors that come from glaze materials.
When he had the debut of his large-scale ceramic rings in the 2006 Art of Kaohsiung—Continuity and Innovation: Kaohsiung Ceramics exhibition at KMFA, many expressed concerns that his works might fall or collapse under the impact of external forces (either manmade or natural ones) in public space. Nevertheless, in his 2007 solo exhibition, Forum for Creativity in Art: Theater of Clay, he erected in the gallery more rings of high-temperature ceramics to create a ceramic forest full of interlaced light and shadow. (Fig 7. The venue of the exhibition of “Theater of Clay”, 2007 )
Hsu has been so adamantly pushing the limits of ceramics in “lightness”, “thinness”, “clarity” and “height” like an OCD patient. Despite all the ordeals and challenges, he never gave up and never regarded “fragility” as an inevitable weakness of his works. He studied on his own; exchanged with experts; diligently searched on the internet; and purchased materials from different countries to add into his clay for experiments.
Hsu attentively conducted these exciting experiments. Despite mixed results, he believed he could increase the ceramic robustness of his works without comprising the desirable textual integrity with his scientific calculation beforehand of the resistance against gravity, ratio of ingredients in the clay, and temperature of the kiln firing. (Fig 8-1 and 8-2)
In 2007, when I went to the Tainan National University of the Arts to borrow one of Hsu’s works for the Theater of Clay exhibition, I saw his ceramic rings with uneven cracks caused by high temperature in the kiln on their brims lying quietly on the university campus lawn. In the undulating light and shadow outdoors, the sporadic spots of moss on the surface of the rings gave the work a unique visual impact stronger than its own texture. (Fig 9)
After the work was moved into the exhibition venue, the ceramic rings originally put on their side on campus were erected to form a ceramic forest. These high-temperature ceramic rings in layers undulated like the skin of a creature with air flowing freely in and out of their inner hollows. As exemplified by this work, Hsu’s works can always present to viewers different kinds of beauty, whether viewed from near or far, horizontally or vertically, and inspire their imagination.
Hsu’s fascinating art of experimental ceramic installations is a path of great risks for the extension and thinning of both “pottery clay” and “ceramic clay” come with higher “brittleness” after firing. The works face constant dangers of falling down and breaking when they are on display. In 2007, after his strenuous efforts, he successfully pushed the physical limits of ceramics as a medium for artistic creation (to a height of over 200 cm and a thickness of around 0.5 cm). In 2019, the magnificent presence of the two unibody high-temperature ceramic sculptures of nearly five meters tall each in the lobby of KMFA for the exhibition will make viewers marvel again at his perseverance and patience. (Fig 10)
In addition to seeking breakthroughs in the form and design, Hsu also seeks options of stronger bases or back supports for his works.
His earlier option was to place heat-softened bars of modeling clay, whose colors were similar to those of the ceramic rings, at the bottoms of the rings to support them. Later, he evolved to the use of sturdier iron panels embedded into the works. When erecting or moving a large-scale work, all the details regarding the placement of its center of gravity and protection measures have to be decided and taken care of by Hsu who has the most thorough knowledge about the structures of his works.
In the A Word Made Light exhibition in 2019, apart from the difficulties in hanging Hsu’s semi-3D works that “are strenuous expansion of 2D” on the wall, it was already a “sweating” job trying to find a “hole” large enough in the layer of construction work outside the museum to move Hsu’s high-temperature ceramic rings inside and then erect them at the venue.
Weighing near two tons each, Hsu’s ceramic rings required an army of not only experienced manpower but also heavy machines and vehicles such as cranes, container trucks, forklift trucks, and gantries in their boxing, transportation, hanging, erection, and removal. Regarding each of his works as an extension of his life, Hsu played a pivot role throughout this process, coordinating and directing the team he personally trained to take good care of all the “details” of work transportation and placement. (Fig 11-1 and 11-2)
Hsu’s knowledge about the intense relationships between “clay” and “fire” comes from his experiences (lessons) of endless trials and errors. He is aware that the fragility of his works will impede their “peaceful coexistence” with the public. Therefore, he is meticulous with the security of his works in their “packaging”, “transportation” and “display”. He uses stainless-steel backings, latches, and bases to enable secure and convenient hanging and removal of the works despite their much higher costs. Only when his works “intervene” with public space and get presented to viewers in the most “robust” and “worry-free” manner will his artistic creation enjoy the ultimate “freedom”.
Hsu fully understands that ceramics “always contains ‘a sense of crisis’ when they are made in maximum size and minimum thickness.” However, he enjoys this kind of “sense of crisis” as if he is walking on a tightrope, getting himself in trouble and then managing to get out of it. Probably it is because of this kind of “looking-for-trouble” personality that he has been able to endure and overcome all the ups and downs that only he could appreciate along his journey of artistic creation.
Redefining Ceramics after Rebelling against Ceramics
Because of his study of philosophy at graduate school, Hsu has developed solid logical thinking in both written and spoken words, which is a drastically different inclination from his constantly hand-on creation of ceramic works. Fortunately, he has always been able to put his whole heart to his artistic creation and then withdraw and keep a distance away from it with a clear head. Therefore, when he developed his philosophy of “rebellion against ceramics”, he could also support his logical thinking behind this philosophy with practical “techniques”.
In his master’s degree thesis written in 2006, Hsu frequently mentioned the strong influence of Richard Serra on him. Serra excels at the minimum application of materials to take viewers into a completely different mental world. This is also what Hsu’s “rebellion against ceramics” is aiming to achieve.
His “rebellion against ceramics” is not to look down upon the techniques and expressions of traditional ceramic art. In his own explanation of the logics behind his “rebellion against ceramics”, Hsu indicated “The reason why I chose ceramics of maximum size and minimum thickness as the carrier of my artistic creation is not to subvert ceramic art or challenge its so-called ‘limits’ but to focus on its characteristics opposite to those of traditional ceramics. It is a kind of ‘ceramics’ that deviates from the traditional ‘ceramics’; therefore, I define it as ‘rebellion against ceramics’.”
Through his self-exploration and continuous attempts to change the perspectives he used to view the world, Hsu has shifted his attention from the “appearance” of his works in the past to focus more on “himself”. Through the works in the exhibitions, he also demonstrates to viewers his own emotions and revisits those periods of “time” he strongly experienced in the process of artistic creation, replaying those moments in which he gently kneaded the clay, painstakingly labored over the creation of his large-scale works, and went through different transitions of his emotions.
In the Theater of Clay exhibition in 2007, the projection of the “intimate interactions” between the artist’s hands and clay attracted viewers and guided them to walk along the passage constructed with sanded glass panels. From the projected images, viewers could appreciate how Hsu’s hands moved and interacted with the clay, how the hands guided him and viewers themselves to move forward and explore the soft and slightly warm clay. (Fig 12)
Hsu eagerly invites viewers to get closer to his works so that they can see traces of his kneading left on the works. Like tattoos that encode messages, these traces contain Hsu’s memories of different moments—working bare-handed strenuously on his works; sweating bullets in his sweltering studio; frustration with kiln firing failures; and joy at the sight of perfect results out of the kiln. In his philosophy of “rebellion against ceramics”, these “behind-the-scene moments” unknown to viewers are as important as the works.
No matter how exhausted, Hsu always insists on kneading and creating works with his own hands. Whether the works are towering ceramic rings or thin and brittle “units” like oyster shells, there are always countless handprints intentionally left by Hsu on their surfaces of rough textures and natural colors. These handprints are Hsu’s valuable and unique “signatures”. (Fig 13)
As indicated by Tsui-hsia Hung, an art critic, “Since his emergence in the world of ceramic art, Hsu has always reminded himself of not falling into the mire of traditional ceramics. He has been experimenting with the chemical composition of clay and the forms of his works. He aspires to be an observer of social dynamics, using his eyes to look into the interactions between people and society.”
By presenting his works in front of viewers in the most “dangerous” manner, Hsu actually intends to challenge their frail nerves. His insistence on “ceramics” as the main medium can be probably deemed as a kind of “strategy” for his practice of art.
As ceramics is perceived by people as “probably” one of the most fragile materials, the “psychological” impact of its “visual tension” will be even stronger than stone, metal, plastic or other materials when it is expanded in size and thinness. Hsu enjoys challenging the visual perception and imagination of viewers for these “mental games” are much more intriguing than the pure manipulation of forms and shapes. (Fig 14. The venue of the exhibition of Iteration-In between, MOCA plaza)
Finding the “Boundary” to “Transcend the Boundary”
Hsu always says, “When you are creating a work, it is actually also creating you.” To make sure his kneading of clay will not end up becoming a kind of “robotic” repetition of the same action, he has developed his philosophy of “rebellion against ceramics”, in which he continues to raise, challenge, and solve his own doubts.
As Hsu indicated when describing his idea of “transcending boundaries”, “You have to find the ‘boundary’ in order to ‘transcend the boundary’.” It is because he fully understands the “boundary” of “ceramics” that he is able to have his “rebellion against ceramics”. In the past, the last thing he could control in his life was probably what his works would turn out to be after firing in the kiln. Now, with his refined command of knowledge and techniques, he can face all the uncertainties arisen from kiln firing with much ease and certainty.
Hsu’s rhetoric of ceramic art has long transcended the “ceramic art” in most people’s understanding and reached the core of modern art expression. His ceramic art has also transcended the limitations of media, technique, and equipment, serving as a rare example both at home and abroad.
In July 2008, Hsu participated in the International Ceramics Competition Mino, Japan and, among totally more than 3,200 works by competing artists from over 50 countries, his large-scale work, Transcending Boundaries, won him the grand prize, making him the first Taiwanese artist to receive this honor. That happened just ten years after he decided to become a full-time artist.
As a frequent marathoner (marathon runner), Hsu is deeply aware that, despite the presence of many competitors in a marathon, the one he is really competing with and the one who can help him reach the finish line is no one else but himself. Therefore, he has always been focusing on just one opponent—himself.
Hsu will go abroad for a marathon after the opening of this exhibition. His journey of artistic creation is like a seemingly endless marathon, in which he has long come to the determination: “Just keep on running no matter where the finishing line is!” (translated by Scott Hsieh)