This year I produced a body of ceramics in China’s Capital of Porcelain, Jingdezhen. I begin with the ancient scholar rocks that have entranced Chinese literati since the Tang Dynasty, those naturally eroded fragments of limestone or jade, perforated and asymmetrical, embodying the sublime dance of shanshui, mountains dissolving into water. Meditative focal points of surfaces formed by millennia of wind, rain, and river, inviting the mind to immerse in deep time and a profound humanity. I take previous sculpted forms, scan them, and force them into low polygon meshes, geometric digital spaces. Then, in Jingdezhen, the historic heart of porcelain, I use a combination of 3d printed resin models, sent to mould maker, slip cast, bisque fired, glazed, fired and then vacuum plated from using the same clay that once fed imperial kilns. What emerges is a stone shaped by aeons of geology and also a printed mountain, crystalline and geometric; early wireframe simulating ancient erosion. The fin...