泽中有火
​Fire Under Water

展览标题源自《周易》六十四卦中的泽火革卦，象曰：“泽中有火，革”。青瓷延绵数千年的发展和中国历史文化中的人道思想并流而行，变换流转。龙泉被青山环绕，瓯江穿城，延续着窑火生产。水中之火，此消彼长，循环往复，生生不息。黄韵璇在驻场期间的创作回望过去和体悟当下，尝试提炼青瓷和龙泉在人文精神上的意涵。工厂架构、青瓷、木材、画布被拆分并平铺在整个空间内，历史的时间线隐秘地贯穿在各个空间里。青瓷作为一种生命形态经历内在生长，变化和转变。黄韵璇将青瓷的釉色脱离形制，将釉有形，将形精神化。

画作或交杂叠复或模糊，灵感来源于青瓷釉面通过非人眼的机器放大后所见的晶体结构，青瓷釉色的平滑和材料内部结构的复杂绵密，画面将纯净和复杂的内外表现合一。户外装置将倒塌的工厂木质结构和拾取的本地材料重置成新的场景，内涵一种童趣和期许。基于本土的影像作品 Blessing One to All 延续了黄韵璇对环境和居民生活的关注，拍摄于龙泉老城区街头巷尾的影像作品展现了纪录式影像和声音之间的微妙张力，用看似日常的疏离的镜头对龙泉老城居民和老城环境里的时代生活方式进行存有。片中音乐邀请到美国声音艺术家Danny Hynds制作。青瓷分布于展厅各处，同其他创作媒材进行着对话和提问。整个展览可被视为黄韵璇驻场期间的一件整体作品，述说着艺术家基于龙泉此地对本土对生产对人文的观察和理解。

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The exhibition title is inspired by the Hexagram 49: Revolution (Ge) from the I Ching, which states: “Fire Under Water, Revolution.” The thousand-year development of celadon mirrors the trajectory of Chinese humanitarian thought, evolving and shifting alongside it. Surrounded by verdant mountains and traversed by the Ou River, Longquan continues to preserve its kiln-fired production. Fire within water, ebbing and flowing, endlessly cycles. During her residency, Huang Yunxuan reflects on the past and contemplates the present, seeking to distill the cultural spirit embodied in celadon and Longquan. Factory structures, celadon, wood, and canvas are disassembled and arranged flat throughout the space, where the timeline of history subtly threads through each area. Celadon, as a living form, experiences growth, transformation, and evolution. Huang separates glaze color from form, giving shape to glaze and spirit to form.

The paintings are layered or blurred, inspired by the crystalline structures seen when celadon glaze is magnified by machines beyond the human eye’s reach. The surfaces reflect the harmony of celadon’s smooth glaze and its complex internal structure, merging simplicity and intricacy on canvas. An outdoor installation rearranges the wooden structures of a fallen factory and found local materials into a new scene, conveying a sense of wonder and hope. The site-specific video work Blessing One to All continues Huang’s focus on the environment and daily lives of residents, featuring footage captured in the old streets and lanes of Longquan. This work presents a subtle tension between documentary visuals and sound, preserving moments of everyday life in Longquan’s historic district, accompanied by music from American sound artist Danny Hynds. Celadon pieces are placed throughout the exhibition, engaging in dialogue and questioning with other media. The entire exhibition can be seen as a comprehensive artwork representing Huang Yunxuan’s observations and reflections on locality, production, and humanistic values based on her time in Longquan.