When writing calligraphy, I am often fascinated by the expression of the relationship between pen and ink and paper, and see the strength and depth of the brush and ink on it. You can even feel the tolerance of the knives cut on the stone in the ancient post. While in seal cutting, I prefer those works with the breath of stone. It seems not delicate and perfect but contains full vitality in it.

Wood firing kiln is like this, you will experience in the works of fire, ashes, and clay between the fusion and dialogue, people, earth, fire, ash, kiln, wood, time, nature, even a small cup, have left their traces, one by one for you to enjoy. The goblet became the stage of their lives, and together they performed their sonatas at this moment.

It’s not flashy. Or rough nature, or humble simple, or introverted quaint, or rich layers. And when you use, hand, mouth, eyes contact different surface, each time has a different feeling, with the daily use, and tea soup immersion, at any time the daily change, accompanied by growth.

Deng Yu Tang has successfully realized the coexistence of rules and freedom with his understanding of implements and mastery of techniques over the years. It can not only grasp the stable shape of the shape (which is very difficult to achieve in the past firewood) but also give it enough self-generating space, waiting for its every change of surprise. I am also used to each kiln comes out, in the mind give up the requirements, assumptions, and so on, just look forward to and feel at ease to wait for them to come out, give us a new experience. Today I happened to see a sentence from the director and screenwriter Xu Haofeng: “works are always deeper than writers, and writing out accidents is called writing.”

Through it, we can remind ourselves to keep opening, to keep breaking, to keep rebuilding, to keep starting, to keep letting go, to keep letting go of our obsession. And this charm, I will be able to enjoy in the church every time in the woodburning utensils.

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