Earthlines｜地脉

2025.1

This series employs the language of geological strata to reimagine the intertwined, sutured, and reconstructed landscapes between humanity and nature. The abrupt purple and yellow lines, produced with artificial pigments, resemble seams on the earth—marks of intervention that reveal the force and dominance of human agency. In a time when nature is continuously rewritten by human hands, the question inevitably arises: how much of the authentic landscape can still be perceived?

In contrast, the marbled layers composed with metallic oxides—the inherent hues of natural elements—allow clay itself to become a witness to the memory of the earth. These strata bear the traces of geological time, resonating with the perception of viewers and evoking a shared journey that transcends the boundary between the individual and the environment.

“Reconstruction” signifies a rethinking and re-recognition of the human–nature relationship. It reflects not only a critique of anthropocentrism, but also a rejection of seeing nature merely as a tool. Through these ceramic works, my research seeks to connect viewers with the memory of the earth, creating an emotional encounter that allows them to sense humanity’s shared journey with nature.

My journeys into nature have deeply shaped this perspective. By observing and recording diverse geographical formations and primordial landscapes, I gradually came to realize that modern society’s conception of separating humans from nature has accelerated the transformation of geological scenery. Nature itself is redefined within contemporary systems of knowledge and social frameworks, and even the term “nature” reflects imbalances of power and perception.

This viewpoint resonates with my earlier undergraduate research on psychogeography and deterritorialization. In the present study, I expand this line of thought through ceramic practice: within the strata and lines of the earth, I seek to reconstruct the relationship between humans and nature.

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本系列以“地质层”为语言，试图再现人类与自然之间交错、缝合、重构的风景。那些突兀的紫色与黄色线条，源自人工色料，犹如大地上的缝合之痕，揭示出人类介入的力量与支配。在自然逐渐被人为重写的当下，我们不得不追问：在这片被不断塑造的地景之中，我们还能看清多少属于自然本真的风貌？

与之相对的，是以金属氧化物形成的绞胎层理——这些取自自然元素本色的纹理，让陶土本身成为大地记忆的见证者。它们承载着地球时间的痕迹，与观者的感知发生共鸣，唤起一种跨越个体与环境的共同旅程感。

分解重构正意味着对人类与自然关系的再考与再认识。这不仅是对“人类中心主义”的反思，也是对自然作为工具化对象的批判。通过陶艺作品，将观者与地球的记忆相连接，创造出一种情感性的体验，使人们感受到人类与自然之间共享的旅程。

自然的旅行深刻地影响了我。在观察与记录不同地理风貌和原始景观的过程中，我逐渐意识到，现代社会将人类从自然中切割出来的观念，正在加速地质景观的变异。自然被新的知识体系与社会结构重新定义，“自然”一词本身也折射出权力与认知的不平衡。

然而，正如建筑师阿尔贝托·马尼亚吉（Alberto Magnaghi）所言：“领土是一个有机的存在，是在文化、地质与生物基盘中共同演化的复杂体。” 这句话提醒我们，自然与人类的边界并非固定，而是流动、交织、多元共生的。