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“长于土，成于瓷。”她的作品中，总有一种附着于土地而萌生地对于生命的诸多思考。她，余梦彤，一个用“瓷语”（china dialect）传达生命感受的陶瓷艺术家。在她作品中你总能忽略瓷原有的器物之用，去思考“瓷”本身的源头和形成过程。观者观看时，好似被无形的推手缓慢拉入一场关于生命的对话。作为艺术的媒介的瓷土在此发挥的艺术语言作用，在她的艺术作品中，不可言说。‘Grown from the earth, made from porcelain.’ In her works, there is always a kind of thinking about life that sprouts from the land. She, Yu Mengtong, is a ceramic artist who uses ‘china dialect’ to convey the feeling of life. In her works, you can always ignore the original use of porcelain and think about the origin and formation process of ‘porcelain’ itself. When the viewer looks at them, it seems that they are slowly pulled into a dialogue about life by an invisible hand. As the medium of art, porcelain plays a role in the language of art, which is unspeakable in her art works.
Yu Mengtong ‘The Crevice of Moontide 01-03’ Porcelain Dimensions variable“贝壳原本意味着一个带有自我知觉的内空间，而通过它闭合的缝隙我将这种内在翻转，使外空间被包裹，这不光是一种空间的转换，更如同人的自我知觉，这是一个赤裸于世界的过程，周而复始，从未停歇，仿佛盈亏之月。而所有的缝隙.都从未只是一条界限，划分黑白两界，缝隙恰好是容纳临界状态的地方，恰是最丰富的所在。”
‘The shell originally signified an inner space with self-perception, and through its closed slits I turned this inner over so that the outer space was enveloped, not only as a spatial transformation, but as a man's self-perception, which is naked to the world, and which, week after week, never stops, as if it were a moon of gain and loss. And all the gaps . . are never just a boundary, dividing black and white, the crevices are exactly where the critical state is housed, exactly where the most abundance lies.’
Yu Mengtong ‘The Crevice of Moontide1902’ Dimensions variable Porcelain
贝壳是海洋生物的代表，它的生命空间由自身产生，它的存在和演变都在壳上被记录，仿佛时间沉淀为空间。回溯贝壳的历史，就好似探索一场生命长度的沉淀。它在时空长河中回避喧嚣独自生长，永恒、轮回、周而复始。
The shell is the representative of Marine life, its life space is generated by itself, its existence and evolution are recorded on the shell, as if time precipitates into space. Tracing the history of the shell is like exploring a precipitate of the length of life. It in the long river of time and space to avoid the noise alone growth, eternal, reincarnation, cycle.
Yu Mengtong ‘The Jade of Moontide’ Dimensions variable Porcelain当原本的瓷土和空间被改变和塑造，“物化”转为“人化”，主观附着客观物象，存在、传播，置换创作者与欣赏主体之间的感受，成为独特的媒介。When the original porcelain clay and space are changed and shaped, the "materialization" is transformed into "humanization", the subjective attachment to the objective objects, the existence and transmission, the replacement of the feelings between the creator and the appreciation subject, and the unique media.
Yu Mengtong, ‘The Backwash of Moontide’ (detail) Dimensions variable Porcelain
若置换对象是真实的生命，那被置换的生命体、创作者、欣赏主体之间，又会有怎样的碰撞？余梦彤以贝壳为载体的作品，给出了一个答案。If the object of replacement is a real life, what kind of collision will there be between the replaced life form, the creator and the subject of appreciation? Yu Mengtong's works using shells as a carrier give an answer.
Yu Mengtong ‘Dextrorotation’ Dimensions variable Porcelain余梦彤《 盈亏之洄 》 尺寸可变 瓷
Yu Mengtong ‘The Backwash of Moontide’ Dimensions variable Porcelain
2019???
“贝壳的的两半因对方的存在而拥有意义，磁铁的连接使得他们之间形成的独立的微小引力场得以呈现.借助对方的力量，它们得以延展.塑造彼此，也或许无数次想要逃离彼此，但最终在盈亏无尽的时间侵蚀下深深的成为彼此，偏离了它们最初的形态，成为某种更为纯粹的存在，在一次次的潮汐之中失去与得到。”
‘The two halves of the shell take on significance by the presence of each other, and the connection of the magnets makes possible the formation of separate, tiny gravitational fields between them. Through each other's power, they are extended. Shaping each other, and perhaps trying to escape from each other countless times, but ultimately becoming each other deeply under the erosion of endless time of gain and loss, deviating from their original form and becoming something purer, lost and gained in one tidal wave after another.’
Yu Mengtong, ‘Unwinding’ Dimensions variable Porcelain
Yu Mengtong, detail of ‘‘Unwinding’ Dimensions variable Porcelain
“解旋”是将马丁长鼻螺的生命空间按照其旋转生长的方向逆向展开并进行消解，对同一空间尝试多组不同的拆解方式，每一次的拆解都是将一段生命绵延转录成为一种真实的物质存在。
‘Unspinning’ is to unfold and dismantle the life space of the Martin's snail in the reverse direction of its rotation and growth, and to try several different ways of dismantling the same space, with each dismantling being the transcription of a period of life stretching into a real material existence.Yu Mengtong, ‘Lunar phase’ Dimensions variable Porcelain
月亮罐是一种非常经典的器型，饱满，浑圆，形似月盘;贝壳在器物的制作与烧成中是一种经典的支烧用具，耐高温，以留下贝壳纹路的支烧痕闻名，而胚体被支烧的部位则因重力和支点的不同有凹凸之变;青釉半透，具备一定的流动性会因重量而汇聚，浅则青白，多则青蓝，一如因月亮引力缘故而成的潮涌。以月之相度圆缺，以潮之涌代盈亏;瓷以成器，釉以为变，瓷坚过石，变即永恒。一段生命历程或有过月满之时，但更多是以 30个未满以期一日之满，更愿盈而未满，亏而不缺，未盈之处可容留白可纳思念。
The moon pot is a very classic type, full, round, like the moon plate; The shell is a classic burning tool in the making and burning of utensils, which is resistant to high temperature and is famous for the burning marks that leave shell lines, while the part of the embryo body that is burned has a concave and concave change due to the difference of gravity and fulcrum. Blue glaze semi-transparent, with a certain fluidity will converge due to weight, light white, more blue, as the moon's gravity caused by the surge. The phase of the moon is round and short, and the tide is full. Porcelain to the synthesizer, glaze to change, porcelain hard stone, change is eternal. A life course or have a full moon, but more with 30 less than a full day, more willing to surplus and not full, deficit and not lack, not surplus can be left white can miss.
Yu Mengtong ‘Lilac/Bodhi’ Local Installation Porcelain Porcelain Clay 
Yu Mengtong ‘The reverse space’ Dimensions variable Porcelain “负空”是生命空间翻转后的拼接模具翻制“复制”出同一生命空间的多个“分身”，也就仿佛是同一生命体不同时间点和状态的空间，然后将这些独特时空节点的象征物(泥胚)展开，拼接成型，使之构成一个连贯的新空间，正负成双，仿佛一个生命个体用自己不同时空的绵延努力拼合成一个完整的空间，努力去盛纳。在这个过程中我不断去处理拼合的缝隙和孔洞，或许这才是一个生命个体每天、每时都在尝试的:不断缝合自己的过往经历、感受、思绪和当下，去试图盛纳那些不被生活所容纳之物，或用尖利的外壳，或用柔软的内空。
"Negative space" is the splicing mold after the life space is flipped to "copy" multiple "parts" of the same life space, which is also like the space of different time points and states of the same life body, and then the symbols of these unique space-time nodes (mud embryos) are expanded and splicing to form a coherent new space, positive and negative in pairs. It is as if a living individual uses its own stretching of different time and space to try to combine a complete space, trying to contain. In this process, I am constantly dealing with the seams and holes, which is perhaps what a living individual is trying to do every day and every hour: constantly stitching together his past experiences, feelings, thoughts and the present, trying to contain what is not contained by life, either with a sharp shell or with a soft inner space.Yu Mengtong ‘Container’ Dimensions variable Porcelain “皿，器也，凡皿之属皆从皿。皿以盛水，水可释尘，以尘之皿皿水，水释皿。”容器即边界，边界本身亦可拥有质感、动机、形状、朝向，边界可以变动，边界不是一条线。边界的形成源于两侧空间的挤压，当空间带有象征与隐喻，边界是最丰富的所在，生命亦有边界、内外，一些坚定与抵抗，抑或尊重。当边界变动、蜷曲，边界亦可容纳。皮相即边界。‘Vessels also, all genera of blood are from vessels. Blood to blood, hold water, water can release dust, to dust of blood blood water, water release vessel.’ Vessel is the boundary, the boundary itself can also have the quality of Wei, motive, shape, direction, the boundary can be changed, the boundary is not a line. The formation of the border comes from the compression of space on both sides, and when space carries symbols and metaphors, the border is the richest of all. Life also has boundaries, inside and outside, some firmness and resistance, or weight. When the border is shifted and curled, the border can be accommodated. The skin is the border.
Yu Mengtong ‘Osmanthus fragrans’ Dimensions variable Porcelain “邑外谓之郊，郊外谓之野，野外谓之林，林外谓之冂。象远界也。“(《说文》)。区域最外的边界 是冂之范式。“冂”表边界，以人作为感知主体辐射向外，如果这个感知的主体以生命囊括，若蜷起感知的边界，使其外的空间成为容器，可以容纳，是否可以于此卸下在匆匆生命中未及感知、难以释怀的部分呢。“冂”是“纳”字里的边界，是未封闭的一个空间，三面盛装，一面释怀，林外为冂。
‘Outside the Eup is called the suburb, outside the suburb is called the field, outside the field is called the forest, and outside the forest is called the gate. The elephant is also a distant boundary.’ (Shuo Wen Jie Zi). The outermost boundary of the region is the paradigm of the gate. The ‘door’ is the boundary, and the human being as the subject of perception radiates outward. If the subject of perception is encompassed by life, and if the boundary of perception is curled up, so that the space outside becomes a container that can be accommodated, is it possible to unload the part of life that has not been perceived in a hurry and that is difficult to let go of? ‘’ is the border in the word ‘纳’, a space that is not closed, three sides of the dress, the face of the release, outside the forest for the door.
Yu Mengtong ‘冂（Hieroglyphs）Inside’ Dimensions variable Porcelain Porcelain clay
Q：你觉得十年后自己的生活状态会是什么样，会继续做艺术吗？A：我不知道十年后的自己会是什么状态，这个社会本身的不确定性就挺大的，会不会继续做艺术也不知道，但我觉得会持续创造。十年以后艺术是什么也未可知，我自己如何理解艺术也未可知，如果宽泛地说艺术就是有意味的创造，那倒不是什么问题，这一点我比较信任自己，毕竟大家说我是个挺固执的人。Q：体制化及学术性的创作训练于你而言的意义是什么？A：这是个挺有意思的话题，对我而言体制化和学术性与创作本身的关系不大，体制意味着权力和层级，学术意味着话语权和理性的、历史性的研究。它提供一些评价标准和叙述视角，构建了一个平台。就好比当一种创作方法论已经有了充足的学术研究，它在鲜活的创作中的意义就不大了，好的创作为学术提供样本，除了“元”性质的、以体制和学术作为话题一部分的创作，因为它构成了作品所讨论内容的一部分。历史性研究对于创作的影响更像是我们的过去构成我们当下的一部分，它不可或缺，成为土壤，但并非指导或主导。创作先于学术，独立于体制。创作是个人的修行，不是一种规范化的训练，某种程度上创作的本质中带有反叛，而学术和体制是一种规训。这是我在警惕的事情。
A：我觉得创作是一种自发的表达，一种渴望与世界、与他人交流的特殊方式。不同的媒介带来不同的思维方式。比如我常用到的陶瓷和影像。陶瓷带有一种强大的物质性和空间性，它可以坚硬而永恒，可以柔软而易留下痕迹，它可以卑微如尘埃，广阔如大地，深入了解陶瓷其实是它要你熟悉石头、土地、水、火、植物如何相互运作，它需要充分调动你身上的肌肉、触觉、视觉、听觉，它教会我对湿度、硬度、肌理、柔韧性敏感，它介入我生活的方式。不同物质有不同生成的逻辑和性格，它需要你尊重它的独特性，它也敏感易碎，它使你总是在揣摩什么样的场景、什么样的情感可以皲裂、什么时候需要破碎。相处久而久之它的方式进入到我的思维方式中，影响我的生活和判断，影响我的审美和价值取向。影像时刻在提醒我“视角”与“视差”，它没有那么强大的物质性，它是一种随时随地的观察方法，时刻提醒我关注身边的细节，关注他者，关注偶然和象征，关注运动与光影。摄影再现瞬间，再现感受，它自带对于“真实”与虚幻的讨论，它转换并连接时空。除了思维方式，摄影还给予我一种身份，一种失语时的自然过渡。如果详细讨论起来肯定非常有趣，咱们就是简单的列举而已。我自己也很喜欢去感受不同媒介的特性和它们带来的思维方式，
A：会。这个问题感觉有点像间接问“你自恋吗”。这种情感是与反复推敲自己的表达、再思考一些作品当中的问题混合在一起的。但我迷恋自己的创造物多于迷恋自己，或者说通过留恋自己的作品我更容易接受自己，有时我甚至在想，这种更容易接受或许也是一种自恋吧？在作品中我看到更愿意看到的自我，通过作品或者创作的过程我才可以认真审视和发现我自己。在日常中，我有点害怕被拍照，害怕手机突然变成前置摄像头，害怕成为关注点，在人群中我觉得我的作品比我自己坚强，如果没有作品在，展览的开幕将是件很可怕的事情。在创作需要的时候我更有勇气变成我平时成为不了的人，我更有动力去尝试新的方式，创作拉长了我面对自己的时间，也给了我这样一个空间，我是这样自我成长的。A：问题重要,但不直接针对于创作。对我而言产生疑问是人类最宝贵的品质之一，我很不喜欢快速下定论。问题带动思考，问题或许只是开始的契机，或者中途引发其它思考。在创作里作品是不解决问题的，作品可以呈现问题，而重要的是呈现和表达。创作是探寻的过程。创作也是个人的，我希望自己诚恳地思考，而不是急于针对什么提出问题抑或给出答案，我希望保留很多宝贵的可能性。有一些问题需要合适身份的人提出，有一些问题或许没有人可以给出答案，我愿意去尝试理解，尝试给出自己的角度，但随它去吧。A：曹雪芹《红楼梦》、欧内斯特·米勒尔·海明威《海明威短篇故事全集》、列夫·托尔斯泰《安娜·卡列尼娜》、米歇尔·福柯《规训与惩罚》 、让·鲍德里亚《艺术的共谋》
‘Flock of Brown Birds’, Zhejiang Province"Dry Land Sailing", 2023, Beijing
Flood, 2023, Mentougou, Beijing
寺院所见并非虔诚信众，尤其在各个观音殿，一进门尽是各式走投无路的人间疾苦 ，2024，天津
The temple is not a devout believer, especially in each Guanyin hall, the door is full of all kinds of cornered human suffering, 2024, Tianjin
旷野公交站 ，2024，北京
Wilderness Bus Station ,2024， Beijing
1996生人，现生活、工作于北京。
于清华大学美术学院陶瓷艺术设计系先后获得学士与硕士学位，
现博士在读。
个展：2023年 负空”余梦彤个展 罐子书屋 x 筑中艺术 北京;“纳” GALLERY WHERE 北京/ 2022年“盈亏”KCCA 青年艺术驻地计划 鼓浪屿当代艺术中心 厦门/群展：2024年 集体步行-游牧是一种永恒的位移 入口空间 河南/ 2023年 “凝固的韵律”国际当代陶艺作品展 清华大学艺术博物馆 北京；第62 届法恩扎陶艺大奖赛 法恩扎陶瓷博物馆 法恩扎 意大利；“瞬间与永恒—中国当代陶艺邀请展” 云上海天艺术中心 青岛；第二、三届“中国白” 国际陶瓷艺术大奖赛 798 艺术园区 北京、英蓝中心 杭州 / 2022年 洁白尘埃 Gallery Where 北京/ 2021年 “青年艺术 100”年度展 嘉德艺术中心 北京；“倾巢计划”女性艺术展 ZERO 零艺术中心 北京/ 2019年第二届当代青年陶艺双年展 筑中美术馆 北京/2018年对谈——白明与他的学生陶瓷作品展 Quirini 博物馆 威尼斯 意大利
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