島谷織流合作聯盟成員介紹_翁程軒

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翁程軒生於苗栗頭份，2014年來到花蓮，開始接觸陶藝的創作與研究。對他而言，「陶」是本能性的選擇，在眾多創作的媒材中，他第一次接觸到陶土，就感受到自己的雙手似乎很能找到某種動態的韻律。在翁程軒的創作過程中，他反覆進行對於「造型」的探問與追求；他思考器皿造型的可能性，對於慣常的工整美學、幾何造型，提出不同的意見與實驗，將個人對於生活的美感實踐在生活陶的製作上。

不管是在生活陶藝的製作，或是個人的藝術創作上，花蓮的生活深深影響著翁程軒的創作。對他而言，花蓮是一個特別的地方，山海遼闊，並且很容易接近大自然，走入某種異於都市環境的節奏與空氣中。2016年，因為工作關係，他也開始接觸居住在山裡的族群，他花更多時間與山林相處，對於不同民族生命觀的學習、對大自然環境的重新理解，都成為他創作的養分。這幾年，他持續鑽研各種陶藝技術，實驗各種土質應用在不同配方下的影響，以及「還原燒」（燒陶時，讓陶土呈現出含鐵成分的自然變化）、陶瓷修復等專業的技術研究。近年，他開始關注日本、韓國…等不同陶瓷產區的風格研究（例如有田、備前、信樂、美濃、益子…等產地，以及高麗青瓷），並嘗試將造型技法、釉色表現融入到個人在飲食器皿、咖啡與茶道器具的創作。也關注紫砂壺、茶碗、台灣茶道的設計應用。

（鹿角壺）是翁程軒2019年到2021年之間的器皿創作，嘗試不同的土質（陶土、瓷土）應用不同配方的青瓷和鐵紅釉色之間的搭配，在「還原燒」下的自然變化。這一系列作品受到他2019年個展的影響，在個展中，他思考著人、土地，與大地之靈的關係，透過創作，深沉的回應了這幾年在山林裡生活的身體經驗與體悟到的精神世界。他希望將這樣的靈感與能量延續到生活陶的製作上，於是巧妙的將對大自然萬物的觀察，融合到生活陶的創作裡。事實上，對翁程軒而言，生活陶的創作是一種很「本能」的創作，它忠實反映著我們的直覺以及內心，就像人類在自然裡生活的方式，它並不是千迴百轉的思緒，而是在人的意識中，共感出某種有機的、自然的美學與質地。

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Weng Cheng-hsuan was born in Toufen, Miaoli, and moved to Hualien in 2014, where he began exploring ceramic art creation and research. For him, pottery was an instinctive choice. Upon first touching clay among many artistic mediums, he felt his hands could naturally find a dynamic rhythm. Throughout Weng Cheng-hsuan’s creative process, he continuously explored and pursued the “form” of ceramics. He questioned the possibilities of vessel shapes, challenging conventional aesthetics and geometric forms through experimentation, integrating his personal sense of life’s beauty into the production of functional ceramics.

Whether in crafting functional pottery or personal artistic endeavors, life in Hualien profoundly influences Weng Cheng-hsuan’s work. To him, Hualien is a unique place—its vast mountains and seas make it easy to connect with nature, offering a rhythm and atmosphere distinct from urban environments. In 2016, due to work commitments, he began interacting with indigenous communities living in the mountains, spending more time in nature. Learning about different ethnic perspectives on life and gaining a renewed understanding of natural environments became nourishing elements for his artistic creation. Over the years, he has continued to study various ceramic techniques, experimenting with different clay applications under various formulations, and specializing in technical studies such as reduction firing (a process during pottery firing that brings out natural iron-based variations) and ceramic restoration. Recently, he has also delved into studying styles from different ceramic production areas such as Arita, Bizen, Shigaraki, Mino, Mashiko, and Korean celadon, integrating shaping techniques and glaze expressions into his creations of tableware, coffee, and tea utensils, while also focusing on designing applications for Yixing teapots, tea bowls, and Taiwanese tea ceremony utensils.

The “Deer Horn Teapot” series represents Weng Cheng-hsuan’s vessel creations from 2019 to 2021, experimenting with different clay types (earthenware and porcelain) and blending different formulations of celadon and iron-red glazes, showcasing natural variations under reduction firing. Influenced by his solo exhibition in 2019, where he contemplated the relationship between people, land, and the spirit of the earth, these works deeply respond to the spiritual experiences and insights gained from living in the mountains and forests in recent years. He aims to extend this inspiration and energy into his functional pottery creations, skillfully integrating observations of nature’s creations into his work. For Weng Cheng-hsuan, creating functional pottery is an instinctive process that faithfully reflects our intuition and innermost thoughts, akin to how humans interact with nature. It’s not about convoluted thoughts but resonating with an organic, natural aesthetic and texture within human consciousness.