[ SKINSHIP ]
TOUCH. WEAR. LINGER. TO BE KNOWN IS TO BE CHANGED.
In objects by Wu Jingwen.
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Direct & Treatment - Sharon @sharonkrw
Photographer - Yi Jun
Talent - Alois @alocyp
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Vessels on jadegrain.com
#jadegrain #wujingwen #jingwenwu
Kensui
A perfect roundness, a profound black — Dong Dan’s words for what he pursues, and the most precise description of what arrives.
— Dong Dan, Chengdu
φ12cm x H13cm
jadegrain.com
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Tea & Coffeeware
In deep black glaze—crafted from Sichuan clay and straw ash—that strikes a delicate balance between gloss and matte.
— Dong Dan, Chengdu
φ4cm x H5cm
φ6.5 x H7.5cm
jadegrain.com
#jadegrain #dongdan
Xuan Teapots
United by the Xuan principle: one carries a single circular brushstroke at the center — calligraphy’s pursuit of unity and void; the other, white speckles across black, a contemporary reading of the Song Dynasty’s skyful of stars.
— Dong Dan, Chengdu
φ7.5cm x H8.5cm
jadegrain.com
#jadegrain #dongdan
Martin fixed an inner state in graphite — permanent, unchanging. Sasakawa fixes a moment of making in glass — permanent, but never finished. The bubbles keep catching new light. The same vessel at nine in the morning and three in the afternoon are not quite the same object.
Two different answers to the same question.
Essay at jadegrain.com/read
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“Beauty is the mystery of life. It is in the mind, not in the eye.”
The grid may seem like the most impersonal structure but Martin knew it was the most intimate. A line drawn with full presence and one drawn without it are not the same. The person who looks slowly knows the difference.
Essay at jadegrain.com/read
#jadegrain #agnesmartin
Agnes Martin (1912–2004) called herself a minimalist’s opposite — her grids were not about form but happiness and innocence.
Essay at jadegrain.com/read
@jadegrain
#jadegrain #agnesmartin