YIZHI

The moment I discovered YiZhi's work, I was moved by its distinct style, delicate beauty, and perfect imperfection. It happened during the autumn of 2022 when I had embarked on a quest to seek out fresh talents and unique artists for potential collaborations, particularly to complement the vision of my upcoming gallery. As I curated this collection for what would become the first solo exhibition and release, I was searching — completely independent of the exhibition — for a new name for my undertaking, which finally resulted in UNEARTHED. Looking back, I can't help but wonder if this choice was the result of an unconscious connection. YiZhi's works evoke a multitude of associations for me. The frayed and perforated rims stir up memories of long-forgotten, slowly corroding metal sheets. The shapes and profiles of the pieces bear resemblance to various figurines, some reminiscent of ghosts, while others evoke images of warriors. As these pieces are displayed in the gallery, a subtle vibe similar to the excavation site of the two-millennia-old terracotta army, buried alongside the first Qin emperor, emerges. Yet, despite these historical associations, YiZhi's teapots are as joyful to use as any well-crafted modern teaware. YiZhi's work goes beyond just the final results; it celebrates the entire creative process, evident in the unique marks his teapots bear from their making, including visible traces of both successes and failures. Hailing from Jingdezhen, a renowned hub of the Chinese arts and crafts scene, YiZhi's artistry takes a fascinating twist as he draws strong inspiration from Japanese aesthetics. To me, his non-porcelain creations represent a harmonious blend of two distinct tea cultures that I have personally cherished and admired for many years. Despite living in the world's porcelain capital, YiZhi is following his own unique path. Applying the delicateness of porcelain throwing to wild clay, he creates uniquely sculptured vessels. Artist statement: "In the process of throwing, I was and am strongly attracted by those vessels, whose natural texture is similar to dead wood. It reminds me of the traces of time, patterns left on natural matter by years and years. I use Jingdezhen's traditional throwing technique, and when expanding the vessel from inside there is only one chance to form the shape. This process is irreversible, but I really enjoy this kind of challenge and strong uncertainty. The making and throwing of each piece is a dialogue with my heart, which makes me respect the state of things and accept their imperfections." — YiZhi 一之