The Book of Changes says, “the formless is known as the Tao and the formless are known as the Formless.” Tao and device, symbiotic mutual root, no device, no load-path; Without the way, the thief will never come. In more than 10 years of artistic exploration, Poplar is fond of the art of wood-firing. With earth as the embryo, fire as the medium, and wood as the burnt instrument, he has opened up a new world of art belonging to him.

Yang Shu is always in contact with the soil, using the techniques of wood firing and the creative inspiration of Yin-Yang diagram integrated the way of Yin-Yang into the production of the device, and created a protruding and concave peculiar shape of the work “Two Instruments”. The simple and natural woodburning side handle pot has a smooth curve in its seemingly simple shape. In particular, the shape of a round lid on both sides of the knob reflects his perception and thinking on the philosophy of life. “All things negative Yin and embrace the Yang, Qi thought peace.” In real life, just like Yin and Yang, everything has two sides and things have both sides. Only by learning tolerance can we achieve a state of “harmonious harmony”.

In meteorite, the texture is rough and the shape is bold and unrestrained. In the clear and exquisite bones, the grey, black, and yellow body is dotted with cups, making it as clear, fearless, and straightforward as possible… Like a meteorite falling from nine days away. Where do we come from? Where are you going? Lao Tzu gave “Tao gives birth to one, two gives birth to two, two gives birth to three, and three gives birth to all things.” The answer. Poplar believes that objects have spirituality and life, each time the earth and firewood touch will produce unique work. The works of wood-burning, tempered by high temperature, can be immortal like meteorites for thousands of years and have eternal vitality. They are “meteorites” belonging to human beings. In today’s society, there are too many people who are like sticks and their hearts are like ashes. The author wants to warn people that even if they cannot give up their lives, they should be like meteorites. Even if they are in danger of being crushed, they should have no fear, dare to pursue their dreams, and have the courage to face the setbacks and hardships of life.

A close look at the moth-eaten series of Yang Shu, round body, rough texture, natural ash formed with black, gray, yellow, cyan glaze, inside and outside the walls are scattered irregular “moth-eaten hole”, sending out a warm, simple, vicissitudes of life. The son said on the river, “The dead are as dead as a dog. They never give up the day and night.” The river, the torrent, the time, the irreversibly, the life is in the heaven and the earth, because time advances and cannot stay, but blooms the life glorious person always to leave the mark. The moth-eaten series is a quest for the Tao of time, which he added to the creation of the apparatus after he happened to see a wormhole in deadwood. For the short life, we must be kind to the time, in the limited time to explore the self-worth, feel the traces left by the years, leave the “wormhole”, create life to take the unique achievements.

Tao Te Ching says, “Man rules the earth, the earth rules the heavens, the heaven rules the tao, and the Tao rules nature.” Poplar firewood is clumsy. Lao Tzu said, “If I am clumsy”, “clumsy” is neither stupid nor coarse. Clumsy is a kind of silent expression of nature, this kind of beauty is careless beauty without law. His wood-burning flowers are extremely natural and simple. The rough texture, the texture similar to stone or metal, and the free concave shape all highlight the author’s attempt to pursue the way of nature in the state of “but not artificial”. At the same time also warned us, in this emphasis on enjoyment of the “age of desire”, to abide by the nature of nature, will abide by being honest and poor as a realm of life, natural and live not artificial.

“There is no house where there is no vessel.” In terms of the category of ceramic art creation, the “ware” made only by skill lacks soul and life. Only by elevating ceramic art creation to the level of “Tao” can the work be new and out of the mind. Not being affected by the secular world, Yang Shu created various forms of wood-burning products, both practical vessels, and art installations. By making “apparatus”, he contains the mellow national culture and life philosophy and expresses his perception of Yin and Yang, life, time, and the way of nature. Through his work, you can feel the warmth of his mind and his artistic attitude as a modern new craftsman.