You and I are always be best friends
文｜應力空間 彭奕軒
你是否還記得老家出現在某一個陳列櫃的陶瓷藝品？
是否有種似曾相識，又有點對它記憶模糊，不確定它從何而來？
〈露露藝品社〉是由藝術家謝佳瑜，透過回溯整個台灣早期外銷陶瓷產業的故事，回叩到記憶中可能當時的環境為何？我們彷彿會聽到依稀的老旋律，但所有的旋律都將成為某種整體時代氛圍縮小至一個物品產生的投射及夢想。
忠誠、幸福、成雙成對、永恆。
在陶瓷中，動物形象一直以來都產生出某種人類的投射，從許多陶瓷的工藝屬性中，通常在複製性製程中，有許多不可見的環境氛圍影響所致，這就像窯內的氣流氛圍一般，與藝術家聊天過程中，我可以得知在製作模具中，一樣對比到台灣曾經的代工時代，許多模具製程，如動物形象的毛髮，都會以模具方便拆裝及不卡模的情況去發展形體，這也對應到藝術家透過翻模技術反複翻模，直至光滑無痕的樣貌。
許多原本藝品製成原產地在苗栗，藝術家也透過對於藝品的收藏及研究，產生出更多重的畫面感知，包含在幫這些動物們「化妝」，當時訂單來自西方，卻透過每個不同代工所屬地，可能存在某個手藝背後的環境，那可能是不曾被提及的，如代工通常以女性為主，在繪製、噴塗等大量製成手藝中，很像她們全都在裡面，同時對應著這些被化妝的貓咪、狗狗們，這些裝扮成為家家戶戶中溫馴且可愛永恆的存在。
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｜左腳找到了右腳。
這是在某種機緣中，遇見了兩隻小狗狗在靴子裡的藝品以及另外貓咪同樣在靴子裡，在這樣代工形體上的某種巧遇，很像藝術家從中將曾經遺失的靴子重新重逢一般。
藝品的存在其實是在那個時代最實際且最近人的「藝術品」，它沒這麼的遙不可及，它的背後有許多時代的建構及環境所致的特殊美感，某一種中介且可愛的氛圍，你不可能會討厭它的，它也永遠會保持著幸褔的姿態注視著你。
You and I Are Always Best Friends
Text | Soil Space, Peng Yi-Hsuan
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Do you still remember a ceramic artwork once placed inside a display cabinet at your old home?
Does it feel somewhat familiar, yet vague in memory—unsure where it came from?
Lulu Goods is a project by artist Hsieh Chia-Yu, who traces back the history of Taiwan’s early ceramic export industry to reconnect with the environment and atmosphere that might have surrounded those times. It feels as if we can faintly hear an old melody, but every tune becomes a projection and a dream condensed into a single object, embodying the spirit of an entire era.
Loyalty, happiness, companionship, eternity.
Within ceramics, animal imagery has always carried human projections. From the craft attributes of many ceramic works, especially those shaped by replicative production, we find traces of invisible environmental influences—like the shifting air currents within a kiln. In conversation with the artist, I learned that mold-making reflects Taiwan’s manufacturing era: for example, the hair textures of animal figurines were designed to ease mold release and prevent sticking. This technical constraint parallels the artist’s own process of repeatedly casting molds until they achieve a seamless, polished surface.
Many of these original ornaments were produced in Miaoli. Through collecting and studying them, the artist opens up layered sensory images—such as “putting makeup” on the animals. Though the orders once came from the West, the handiwork was rooted in local subcontracting. Behind each brushstroke or spray-painting technique lay an environment often left unspoken: factory labor dominated by women, whose repetitive gestures animated the surface of these cats and dogs. Their painted features transformed them into docile, eternally adorable presences in households across the world.
| The left foot found the right foot.
By chance, the artist encountered two figurines of puppies nestled inside a boot, alongside a similar ornament of a cat in a boot. This coincidence of manufactured forms resembled a lost shoe finding its missing pair—an unexpected reunion through the medium of export wares.
These ornaments were, in fact, the most immediate and accessible “artworks” of that time. They were never distant or unattainable. Instead, they embodied a special beauty shaped by the structures and environments of their era. As intermediaries, they radiated a kind of cuteness and charm you simply cannot dislike—forever maintaining a posture of happiness as they gaze back at you.
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