Design Concept:

The crystal hibiscus flower sculpture possesses a unique personality achieved through the technique of pate-de-verre and twice-firing. This design is one of the most challenging pieces due to the large and layered petals, requiring extra effort to secure at each step of the process. In the refining wax form, every subtlety and micro-inch plays its own role in the grand scheme of beauty, requiring tens of injection points for liuli ingredients to ensure exact color placement. The hibiscus flower, one of the few that blooms in late fall when many flowers wilt, has long been admired by the Chinese for its conviction. Guided by the chilling autumn draft, the petals of this flower remain uplifted, fearlessly radiating their colors when all others have faded. The glass hibiscus flower immortalizes the flower's beauty, a quality of resilience and courage. Through the noble hibiscus, we are reminded of the will of our convictions as we view ourselves through flowers and the world through a vase.

概念設計說明:

水晶琉璃芙蓉，脫蠟鑄造技法手工製成，花瓣層疊構成與定色，繁複細緻的造型，成為脫臘製模與翻模上最大的挑戰。花瓣既大又多，使得包覆矽膠膜的時候，極講究厚度與深度，尚需加上一層「卡膜」，預防花瓣斷裂，再依花瓣的數量，一朵朵製模，可達十幾層。拆模時更得仔細，力量稍大，就可能完全毀壞，得重頭開始，修臘也因為花瓣數量太多，原料注口達幾十個，極為耗費工。木芙蓉盛開於十月至一月，這時百花凋謝，它卻傲霜綻放，故白居易詩曰：「莫怕秋無伴愁物，水蓮花盡木蓮開」，因此它的花語有高潔之士、純潔之意，因其層疊的碩大花瓣與繽紛色彩，有豐碩圓滿與美好的祝願，作品將盛滿的花瓣以寫意的方式，綻放如風起搖曳，使形態豔麗可人。以花觀己，以瓶觀世界，從作品芙蓉的高潔，看見原則的堅定。