杰瑞德·菲茨杰拉尔德，我是一名来自美国纽约德艺术家。我在那有一处工作室，至今已经有20年了。这处工作室是菲茨杰拉德工作室的办公区以及画廊总部。我于2007年来到中国并在北京建立了工作室。

　　我的父母也都是艺术家，住在美国华盛顿州的西雅图。他们从我很小的时候就从油画、水墨画以及木雕和陶塑等不同方面对我进行训练。

　　西雅图坐落在美国西北部太平洋沿岸。这里以其美丽的自然风景，诸多山脉、湖泊、河流以及岛屿而闻名。在我小的时候，我们全家每年夏天都要在圣胡安群岛中的一个小岛上生活3到4个月的时间。这正是我了解学习大自然的时间：原野、大海和周围的环境。这是一个很特别的时期，因为我们的工作室没有自来水，电和电话。这是我父母创作作品的圣地。对于我和我的妹妹来说，更是一个学习和了解大自然的绝佳机会。在那段时间里，我在陶瓷上面画画，并用陶土做人形和其他形状的雕塑，与此同时我还做花瓶。

　　在其他的时间里，我们住在西雅图，一个完全现代化的城市，我们在那上学，在那做年轻人都会做的事情。

　　我后来在华盛顿大学学习绘画，在那我师从于西北部的著名画家和版画家迈克斯帕福德。我还跟随从事古希腊陶瓷研究的爱德蒙博士学习了考古学、西北原始文化和古典考古学。后来在纽约跟随艺术家安德烈·米莱维齐学习传统人物画。

　　我于2007年搬来中国北京。我在这建立了工作室并开始从事用水墨在丝绢和宣纸上的绘画。2010年，我也开始于景德镇在陶瓷器皿和平板上作画。后来在那座城市也建立我的工作室，决定在陶瓷上画画。

　　刚开始在陶瓷上画画的时候，我选择并使用的技法是“铀下”绘画。我选择这一技法的原因是他是一种直接绘画于瓷胚的技法。他的直观性和水墨以及木板雕刻版画非常相似，而这两种绘画方式都是我使用多年的方式。在铀下瓷器绘画中，每一笔都非常直观并即时地反映画家作画时的感受和意图。没有机会和空间让你去修改前一笔的印记。这种直观性非常适合我，它有一种绝对性，一种让我感觉引导到真实清晰的图像思想的真实性。

　　我的方法是在一开始构思出一个大的意向，然后我选择那个我认为能承载整体感觉的图像元素，并用粗犷而大胆的线条首先绘出这一元素。这第一笔的笔触和瓷胚吸收画料的程度将会告诉我我的下一个图像将画什么。我在脑海里面只构思出我认为能代表我将要花的整体主题的几个元素、物体和人物。这样，所有的元素总是能在画中找到适合它们的位置并且能够充分支持整体感觉和我通过画所讲述的故事。因为它们是很自由的画出来的，每一个都承载着其形状的整体感觉。这样，观赏者可以从这幅画的任何一个元素开始看并能够理解画的含义。正如我其他画的方法一样，观赏者可以一步一步，一块一块地从主题里面勾勒出他们自己对主题的理解意义。我给这种方法取了名字叫“十合一”。基本的意思就是，有一个大的绘画主题，是所有元素存在的一个大舞台。从某种方面上讲，就像一部戏剧里面的不同人物。窝在某处画了一个人或者一棵树，我要它表现我的主题，但是我同时又不把他局限于我的主题。鉴于这种画法源于动作，那么我所画的每一个元素都要有动感，这些动作同时还要讲述一个故事。也正是因为这一原因，才使观赏者不论从瓷瓶还是瓷板的哪一个面或点，都能作为这一故事的开始。瓷瓶的任何一个静立面都可以独自作为一个故事，但如果观赏者把所有的面都组合在一起去理解，他又是另外的一个完整的故事。这种画法的目的不是局限于某一静态图片，而是整体的感觉的流动性与连贯性。

　　在瓷胚上绘画也和壁画很相似。颜色的展现有一个变化的过程，同时画的整体也有一个亮度的表现。这种亮度连同陶瓷本身的质感在画画的时候要很清晰的记在脑海里，这点非常重要。更重要的是，瓷器本身有一种深厚的意义。瓶子，板子，碎片和雕塑器型都由土制作而来。而土本身即是一个很基本的元素。直接在瓷胚上面画画就像在洞穴的墙面上画画一样。它表达着那一刻，而且陶土对画料的吸收的迅速感就像墙面吸收的迅速感一样。这种微妙的关系

　　在烧制美丽、光滑成品白瓷器的时候生成的更为奇幻。瓷胚本身、白色的釉面和毛笔的印记一起组成了一个强有力的组合。艺术家站在天(白色)与地(瓷胚)之间，如果在他画画的时候能够将这两种元素一直记在脑海里，那么定然会得到决度真实的结果。

　　墨，是一种最自由的原料。传统的中国水墨画，有很多特点。墨的运用，千变万化，可以迅速扩散流动，并与其他区域结合起来，平添一种柔和而丰满的感觉;相应的，还可以给人以很清晰的线条但又不失约束的韵味。墨，因人而选，因选而无穷。

　　I am an artist, Jared FitzGerald, from New York City, USA. I have maintained an active studio there or twenty years. This studio is the office and gallery headquarters for FitzGerald Studios. I came to China in 2007 and also established a studio in Beijing.

　　My parents were artists, and resided in Seattle,Washington,USA. They trained me from an early age in Drawing, Ink painting and Sculpting in clay and wood.

　　Seattle is located in the Northwest part of the US along the Pacific Coast. This area of the country is known for its scenic natural beauty with many inland waterways, lakes and islands. When I was a child the family spent 3 to 4 months each summer living on an island in the San Juan Islands, North of Seattle. It was a time when I learned about nature: the wilderness, the sea and the elements. This time was unique since the house and the studios had no running water, electricity or telephone. It was a sanctuary for my parents to create artwork in. For my sisters and myself, it was a wonderful way to study and learn from nature. During that time I painted in ink and tempera and worked with clay, sculpting people and forms as well as making vessels.

　　During the rest of the year we lived in Seattle, an urban setting where we went to school and did all the things that young people do.

　　I later studied painting at the University of Washington, where I studied with the well-known Northwest painter and print maker Michael Spafford. Additionally I studied Archaeology, NW pre-cultures and Classical archaeology with Dr. Edmunds, whose expertise was in classic Greek pottery. Later in New York I studied classic figure drawing with artist and professor Andre Milevich.

　　I moved to Beijing, China in 2007. I established a studio there and began painting in ink on rice paper and silk. In 2010 I also began painting in Jing De Zhen on porcelain vases and flat panels. Later established a studio in that city, dedicated to painting on porcelain.

　　When I began painting on porcelain, the method I chose was "Under-glaze" painting. I chose this method because it is a direct painting method. Its directness is very similar to ink painting and woodcarving in printmaking, both of which I have used over the years. In Under-glaze porcelain painting each brush mark shows out immediately the artist's feeling and intent. There is no room for altering and adjusting the flow of the previous brush marks. This directness suits me and it has absoluteness about it, which I feel lends a truth and clarity to the imagery.

　　My method is to begin the painting whether it’s on silk or porcelain with a broad theme in mind. Then I choose the elements of imagery that I think will carry the overall feeling and begin painting by laying down the first element with broad and bold brush strokes. When painting on porcelain, these first brush marks and how they sink into the clay will show me what the next image will be. I hold in my mind only a few elements; characters and figures that I feel will represent the broad theme I am trying to paint. In this way the elements always seem to find their right place in the painting and support the overall feeling and story I am telling. Because they are spontaneously made, each carries the whole feeling in its form. In this way the viewer can begin at any point within the painting and will understand the intended meaning. In the same manner as I make the painting, the viewer will step by step, painted area by painted area, draw their own meaning from the theme. There is a concept that I have in mind, which I call "Ten-In-One". It is basically the idea that there is one "main theme" to the painting. It's the arena where all the other elements have a place to exist. In some respect they act like characters in a play. Whether I am painting a tree or a person my intent is that they support the overall theme. They symbolize this theme but they are not static. Since this method of painting is based on movement, the elements themselves all have movement and their activities interweave to make the story. It is for this reason that the viewer can start from any point on the vase or panel and begin to understand the story. The vase form lends itself very well to this approach. Only one side of the vase can be seen at a time, so the viewers’ eyes gather the images in a sequence. Ten images in One whole. Naturally, it does not always result in ten images but the gathering of images to form one whole is what I feel is important. This type of painting is fundamentally about the flow of inspiration.

　　Painting on porcelain clay is very similar to fresco painting. There is a transparency to the applied color and the painting will have an overall luminosity. This luminosity as well as the luminosity of the white porcelain itself is a very important feature to keep in mind while painting. Also the clay itself has a profound meaning. The vase, panel, tablet or sculpted forms are all made of earth. Earth is a fundamental element. Painting directly on the clay expresses a moment and the surface of the clay takes the brush mark immediately as the mark sinks into the surface. This primal relationship is further born out when the fired piece shows the beauty and clarity of the white porcelain. The clay itself, the glazed white surface and the brushwork all form a powerful union. The artist stands in the middle between Sky (white) and Earth (clay) and if the artist keeps both elements in mind while painting, an absoluteness and truth will result.

　　Ink is also one of the most absolute and demanding materials. Traditional Chinese ink, "Shui Mo Hua" has many qualities. The ink can be applied so that it expands quickly and drifts and combines with other areas lending a soft and sumptuous feeling. In turn it can give a very precise line and have controlled tones. There are many possibilities.

作者：Jared