My preference to porcelain traces back to my passion of China’s traditional art. Porcelain is a traditional material that carries long-standing historical and cultural accumulations and I’ve been attempting to dig out a new language from such traditional material.

Mr. Sea generalizes various mediums. I experiment on a new medium to express the porcelain — using animation film work to bring porcelain status back to alive. “Alive” here not only means “moving” but also emphasizing the creation form that has fresh life force. The jade-like light of porcelain, light from moving and light of films experimentally combine and form the specific “language of lights” for this film. Such “language of lights” is the “spirit” of the rest languages seen in the film; it’s the language among the porcelain, sculpture and film language — it is their interactions that fulfil the overall “porcelain-visual” in the film. This display of “porcelain-visual” as the main visual and formal language has both accurately and sufficiently expressed the characteristics of porcelain and also effectively delivered the specific aesthetic of Liaozhai and the quality of Chinese ancient mysterious novels.

对瓷的喜爱是源于对我们传统中高格调艺术的热爱,瓷是有长久历史文化积淀的传统材 料,我一 直在试图从这个传统的材料中挖掘一些新的语言。《海公子》综合了多 种媒 介,我尝试了一种 新的媒介来表现瓷——用动画电影短片来重新让瓷的雕塑活起来,这 种“活”不只是“活动”的意 思,而是强调有新生命力的一种创作方式。 瓷的玉质之光、流 动之光与电影用光的实验性结合 形成了影片特殊的“光的语言”,这种“光的语言”是影片 中其它几种语言之间的“精灵”,是影片的 瓷、雕塑、 镜头语言之间的语言——它们交互 作用来实现整个影片的“瓷视觉”。“瓷视觉”这 种视觉形式作为影片的主视觉和形式语言, 既准确而充分表现了瓷器的性格,又 有效的传达了聊 斋故事的特殊美感和中国古代志 怪小说的气质。 ——耿雪《海公子》