材料给人留下深刻印象，有时因其外观，脆弱而易损；有时因其感官冲击，让人无法抗拒。在我的作品中，材料的质感至关重要，是一切的关键。
Marga Knaven最初是一名陶艺家，而后被瓷器深深吸引。这种材料的脆弱之美与悠久历史，激发她去探寻这种特殊黏土的极限。
Materials impress, -sometimes by their physical appearance, fragile and vulnerable, sometimes by their sensory impact-, you cannot escape them. In my work, this materiality is significant and all-important.
Marga Knaven began as a ceramicist and fell under the spell of porcelain. The fragile beauty and long history of this material stimulated her to search for the limits of this special clay.
多年前我发现了瓷器，着迷于它既 “坚硬” 又脆弱的特性。我制作出极薄的瓷片，上面有着彩色区域的抽象图案，并将其置于金属框架中。但接下来该如何发展呢？
随后出现了源自人体、器官的具象形式，后来又有了更抽象的形式。
在经历一段患病时期后，我希望作品变得更简洁，更关乎本质，关乎以 “行动” 为核心的 “存在”。
Years ago I discovered porcelain and became fascinated by the “hardness” the fragility of this material. I made wafer-thin sheets with an abstract drawing in color areas that I placed in a metal frame. But how was I to proceed?
Figurative forms derived from the human body, organs and later more abstract forms followed.
After a period of illness I wanted the work to become simpler and more about essence, about BEING in which the ACT is central.
如今对我来说，更多关注的是材料、行动与处理方式，其中技术层面起着重要作用。
陶瓷除了制成罐子或塑像（当然，这本身并无不妥），还能有什么别的可能呢？对我而言，挑战在于这个问题：一片瓷器中能蕴含多少空间？
在登博斯的欧洲陶瓷工作中心（E.K.W.C.）工作一段时间后，我又回归到薄片创作，开始折纸，然后将其转化为彩色瓷器。一段时间后，我成功烧制出极薄的瓷片，干燥后随意折叠、披挂，看似漫不经心地置于空间之中。
With me now it is much more about the material, the action and treatment,where the technical aspect plays a big role.
What can ceramics be more than a pot or a figure, -which of course there is nothing wrong with that in itself-, but for me the challenge is in the question: how much space is there in a piece of porcelain?
After a working period at the E.K.W.C. in Den Bosch, I returned to thin sheets, started folding paper and then translating it into colored porcelain. After some time, I managed to cast wafer-thin sheets that I loosely folded and draped after drying and seemingly carelessly left in space.
由于瓷器在尺寸方面对我来说已达到极限，而我想以更大的规格创作，于是便寻找其他材料，比如聚苯乙烯、铝和橡胶。
橡胶在某种程度上是瓷器的对立面；它尤其柔韧、柔软且不易破碎。我用它创作出了很棒的作品。所以如今我也使用橡胶进行创作。
Because the possibilities of porcelain had reached a limit for me in terms of size and I wanted to work in a larger format, I looked for other materials such as: polystyrene, aluminum and rubber.
The rubber formed, as it were, the antithesis of porcelain; in particular, it is pliable, soft and unbreakable. I made great works with it. So nowadays I also work with rubber.
橡胶在物理特性上十分突出 —— 那气味！那存在感！—— 但作为一种材料，它没那么有距离感。它感觉类似于皮肤、物体。这种材料触手可及，但它也坚韧牢固，有其独特的气味。它便于拼接连接，柔软且始终富有弹性。使用它创作时需要花费更多力气，而且与瓷器不同，它不会轻易顺从我的想法。我折叠这种材料，但它不会保持折叠的状态，为了固定它，我用螺丝连接各个部分，或者把它们缝在一起。
The rubber is physically very pronounced - that smell!, that presence! - but as a material less distant. It feels akin as skin, as mass. The material is accessible, but it is also rigid and strong and has a very specific smell of its ownIt lets itself be joined and connected, supple and constantly flexible. It gives much more resistance to work with it, and unlike porcelain, it does not easily let me impose my will on it. I fold the material, but it does not stay that way, and to fix it I connect the parts with screws or sew them together.
这为我的作品增添了一个明显的视觉元素，即 “连接”。
缝合的连接处使用彩色绳索，采用不同针法，强调连接的意味。更大的规格造就了引人注目的大型形状，它们轻松占据空间，给人深刻印象。
当我折叠瓷片时，它看起来很像橡胶，于是我的目光落在了这种材料上。我用传送带橡胶的残余部分将我的意象以更大的尺寸呈现出来。
橡胶的设计影响了我的瓷器作品，尤其是在尺寸方面。将我的橡胶作品和瓷器作品并排摆放，可以看到设计上的相似之处。
This adds a visible visual element to my work, namely “THE CONNECTION.”
The sewn connections are done with colored cord and different stitchesperformed, emphasizing connecting. The larger format creates dashing large shapes, which effortlessly take up space and are emphatic.
When I fold the pieces of porcelain, it looks very much like rubber and so my eye fell on that material. My imagery was rendered larger translated with remnants of conveyor belt rubber.
The design of the rubber affected my porcelain works, especially in size. Laying my rubber and porcelain works side by side, one can see the similarities in design.
通过折叠彩色碎布，除了静止的水平作品外，还创作出了带有环和丝带的悬挂作品。
为了在作品中寻求更多空间，我以特殊方式折叠、包裹和披挂这些碎布。由于我对瓷器的处理和烧制方式（其中包括高温烧制时的固化过程），作品看起来很柔软。
在我的作品中，脆弱如今转化为亲近。转化为节奏、色彩与图案的探索性连接。呈现出的形式展开，散发出意想不到的轻盈、通透，引人遐想，吸引注意力，同时又让人感到疏离、难以捉摸。
它们是无法忽视的、近在咫尺的独立实体。
By folding colored rags, hanging works with loops and ribbons were created in addition to stilled horizontal works.
Looking for more space in the works, the rags are folded, wrapped and draped by me in special ways. Because of the way I treat and fire the porcelain, -among other things, because of the solidification process at the high firing temperature-, the works look soft.
In my work, fragility now transforms into closeness. Into an exploratory connection of rhythm, colors and patterns. Present forms emerge, fanning out into unexpected lightness, transparency, evocative, demanding attention and at the same time alienating, elusive.
Own entities that are near and cannot be ignored.
在一片瓷器中寻找空间，与重力嬉戏，一些作品不再仅仅是折叠，而是切割、包裹和披挂。作品变得越来越松散。
尽管瓷器烧制温度很高，但如前所述，它仍保留着柔软脆弱的外观。
我是一名面包师的女儿，我的创作方式很容易让人联想到儿时在家中面包店看到的情景。我用来浇筑薄片的瓷泥（像粥一样），是用父亲的一台旧揉面机制作的。然后将这 “粥” 倒在石膏块上，抹平，再让它干燥。在干燥的碎布两面贴上保鲜膜。
Looking for space in a piece of porcelain, playing with gravity, some of the pieces are no longer just folded, but cut up, wrapped and draped. The works become increasingly loose.
Despite the high temperature at which the porcelain is fired, it retains, as already mentioned, its soft and fragile appearance.
I am the daughter of a baker and my way of working is very reminiscent of what I used to see in our home bakery. The porcelain mass ( porridge) with which I pour the sheets is made in an old kneading machine owned by my father. Then the porridge is poured over a plaster block, smoothed out, then allowed to dry. On either side of a dried rag I apply cling film.
然后，当这块布达到合适的可操作状态时，我就在烤盘上对它进行折叠、包裹、扭转和 / 或披挂。为了防止 “烧制裂缝”，完成的作品必须干燥很长时间，然后以较慢的速度烧制。
如果在干燥过程中作品出现裂缝，就把它放回盆里，整个过程重新开始。
所以我的作品关乎行动，关乎日常的折叠、包裹、切割和 / 或披挂的行动。干燥的瓷片必须一次折叠到位。如果太湿，瓷片会粘在一起；如果太干，瓷片会破裂和 / 或撕裂。我不添加釉料，所以无法修复或修饰任何地方。
Then, when the patch is in the right condition to handle, I proceed to fold, wrap, twist and/or drape the patch on an oven tray. To prevent “baking cracks,” the resulting work must dry for quite some time and then be baked at a slow rate.
If during the drying process the work cracks, it goes back into the pan and the whole process starts over again.
So my work is about the act, the act of everyday folding wrapping, cutting and/or draping. The dried pieces of porcelain must be folded well at once. If they are too wet, the pieces stick together and too dry, the pieces break and/or tear. I do not add glaze, so I cannot repair or touch up anything.
作品要么成功，要么失败。我用日期标记每件作品的标题，这个日期就是作品折叠的日期。在那天，行动发生了。我的作品无可更改！是日常的简约之美。
It is good or not.I mark the title of each work with a date, which is the date the work was folded. On that date the action took place. MY WORKS ARE IRREVOCABLE! The beauty of the simplicity of the everyday。
编辑：尧舜禹 | 摄影：大鱼
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