Since the author study at National Taiwan University of Arts, Department of Craft and Design, started to be in touch with lots of machines, tools and equipment. In 2020, our master students’ studio moved to Taipei Paper Mill which was abandoned. The scenery of old and shattered architecture lead to relative life experience and affect directly to the author’s aesthetic feeling. In the exhibition “Machine Art” held by MOMA at 1934, it was the starter of industrial components became ready-made objects as artworks. In《Postmodern Ceramics》, scholar Mark Del Vecchio also explained that people like machine art because of the image from family member who work at the factory. The aesthetic that was affected by past experience and environment, this aesthetic point of view was also pointed out by John Dewey in《Art as experience》.

The author divided three industrial styles in ceramic art as “The trace of time”, “Representation of industrial symbols” and ”Interactive and operation”. Also, through many works made by artists whose works contain imagery of industry, the author explore the relationship and expression between ceramic art and industrial imagery. Thus, the author made “The field of factory”, “Living space”, “Vestige”, three series of ceramic artworks. “The field of factory” and “Living space” were inspired by containers, studio and living environment, compare and discuss the interior space and the space in containers. “Vestige” though, presented the vestige from environment that was rested by industry development. Through living creatures disguise themselves as appearances of the surrounding by evolution, and the “trace” that left behind though time.