Yizhi | 一之
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Yizhi 一之 Ceramic Artist Currently based in Jingdezhen, Jiangxi
Born in 1995, China
Graduated in 2016 from the Ceramic Design program in Jingdezhen
Since 2017, has established an independent studio in Jingdezhen, focusing on teapot making and wood-fired tea utensils
Selected Exhibitions
July 2023 — Germany
November 2023 — Beijing, China
December 2023 — Malaysia
January 2024 — London, United Kingdom
April 2024 — Japan
July 2024 — Beijing, China
Yizhi 一之
Ceramic Artist
Currently based in Jingdezhen, Jiangxi
Born in 1995, China
Graduated in 2016 from the Ceramic
Design program in Jingdezhen
Since 2017, has established an independent studio in Jingdezhen, focusing on teapot making and wood-fired tea utensils
Selected Exhibitions
July 2023 — Germany
November 2023 — Beijing, China
December 2023 — Malaysia
January 2024 — London, United Kingdom
April 2024 — Japan
July 2024 — Beijing, China
Shi Yingzhi, also known as Yizhi, is a ceramic artist based in Jingdezhen whose work centers on teapots and tea utensils shaped through restraint, material awareness, and time. Born in 1995, he graduated from the Ceramic Design program in Jingdezhen in 2016.
During the later half of his studies, he turned his focus toward wheel throwing and began making teapots, drawn to the discipline and decisiveness required by the process.
Since establishing his studio in Jingdezhen in 2017, Yizhi has remained dedicated to teapot making, developing side handle, kyusu, and bail handle teapots, as well as charcoal stoves, all rooted in functional use and measured form.
Shi Yingzhi, also known as Yizhi, is a ceramic artist based in Jingdezhen whose work centers on teapots and tea utensils shaped through restraint, material awareness, and time. Born in 1995, he graduated from the Ceramic Design program in Jingdezhen in 2016.
During the later half of his studies, he turned his focus toward wheel throwing and began making teapots, drawn to the discipline and decisiveness required by the process.
Since establishing his studio in Jingdezhen in 2017, Yizhi has remained dedicated to teapot making, developing side handle, kyusu, and bail handle teapots, as well as charcoal stoves, all rooted in functional use and measured form.
Yizhi’s practice grows out of Jingdezhen’s traditional ceramic language, yet avoids ornament or excess. Forms are understated and direct, allowing proportion, balance, and surface to carry meaning.
Through refined throwing skills and wood firing, his works retain visible traces of making, preserving asymmetry, texture, and variation rather than smoothing them away.
Surfaces shift subtly in tone and depth, shaped by flame, ash, and kiln atmosphere. What emerges is a sense of endurance rather than display, vessels that feel lived with rather than finished.
Yizhi 一之
Ceramic Artist
Currently based in Jingdezhen, Jiangxi
Born in 1995, China
Graduated in 2016 from the Ceramic Design program in Jingdezhen
Since 2017, has established an independent studio in Jingdezhen, focusing on teapot making and wood-fired tea utensils
Selected Exhibitions
July 2023 — Germany
November 2023 — Beijing, China
December 2023 — Malaysia
January 2024 — London, United Kingdom
April 2024 — Japan
July 2024 — Beijing, China
Yizhi’s practice grows out of Jingdezhen’s traditional ceramic language, yet avoids ornament or excess. Forms are understated and direct, allowing proportion, balance, and surface to carry meaning.
Through refined throwing skills and wood firing, his works retain visible traces of making, preserving asymmetry, texture, and variation rather than smoothing them away.
Surfaces shift subtly in tone and depth, shaped by flame, ash, and kiln atmosphere. What emerges is a sense of endurance rather than display, vessels that feel lived with rather than finished.
Wood firing plays a central role in his pursuit of essential beauty. He considers it the most honest and demanding method, one that requires patience, acceptance, and repeated failure.
Ash from burning firewood and rice husks settles naturally onto the surfaces of his vessels, forming subdued, mottled tones that cannot be predetermined. These restrained colors and textures carry a grounded presence, offering a sense of calm through their lack of insistence. In Yizhi’s work, beauty is not imposed but revealed through process, time, and respect for the natural behavior of materials.
Shi Yingzhi, also known as Yizhi, is a ceramic artist based in Jingdezhen whose work centers on teapots and tea utensils shaped through restraint, material awareness, and time. Born in 1995, he graduated from the Ceramic Design program in Jingdezhen in 2016.
During the later half of his studies, he turned his focus toward wheel throwing and began making teapots, drawn to the discipline and decisiveness required by the process.
Since establishing his studio in Jingdezhen in 2017, Yizhi has remained dedicated to teapot making, developing side handle, kyusu, and bail handle teapots, as well as charcoal stoves, all rooted in functional use and measured form.
During throwing, Yizhi is especially attentive to naturally occurring textures on the clay surface, often resembling weathered wood or marks left by long passage of time.
Jingdezhen’s traditional throwing method allows only a single opportunity to form the piece, with no possibility of correction. He embraces this irreversibility. Each work becomes a direct exchange between hand, material, and inner state, reinforcing his belief that incompleteness and imperfection are essential conditions rather than flaws.
His earlier study of bonsai cultivation sharpened his sensitivity to slow change, proportion, and natural balance, influences that continue to inform his ceramic language.
Wood firing plays a central role in his pursuit of essential beauty. He considers it the most honest and demanding method, one that requires patience, acceptance, and repeated failure.
Ash from burning firewood and rice husks settles naturally onto the surfaces of his vessels, forming subdued, mottled tones that cannot be predetermined. These restrained colors and textures carry a grounded presence, offering a sense of calm through their lack of insistence. In Yizhi’s work, beauty is not imposed but revealed through process, time, and respect for the natural behavior of materials.
During throwing, Yizhi is especially attentive to naturally occurring textures on the clay surface, often resembling weathered wood or marks left by long passage of time.
Jingdezhen’s traditional throwing method allows only a single opportunity to form the piece, with no possibility of correction. He embraces this irreversibility. Each work becomes a direct exchange between hand, material, and inner state, reinforcing his belief that incompleteness and imperfection are essential conditions rather than flaws.
His earlier study of bonsai cultivation sharpened his sensitivity to slow change, proportion, and natural balance, influences that continue to inform his ceramic language.
Shi Yingzhi, also known as Yizhi, is a ceramic artist based in Jingdezhen whose work centers on teapots and tea utensils shaped through restraint, material awareness, and time. Born in 1995, he graduated from the Ceramic Design program in Jingdezhen in 2016.
During the later half of his studies, he turned his focus toward wheel throwing and began making teapots, drawn to the discipline and decisiveness required by the process.
Since establishing his studio in Jingdezhen in 2017, Yizhi has remained dedicated to teapot making, developing side handle, kyusu, and bail handle teapots, as well as charcoal stoves, all rooted in functional use and measured form.
During throwing, Yizhi is especially attentive to naturally occurring textures on the clay surface, often resembling weathered wood or marks left by long passage of time.
Jingdezhen’s traditional throwing method allows only a single opportunity to form the piece, with no possibility of correction. He embraces this irreversibility. Each work becomes a direct exchange between hand, material, and inner state, reinforcing his belief that incompleteness and imperfection are essential conditions rather than flaws.
His earlier study of bonsai cultivation sharpened his sensitivity to slow change, proportion, and natural balance, influences that continue to inform his ceramic language.
During throwing, Yizhi is especially attentive to naturally occurring textures on the clay surface, often resembling weathered wood or marks left by long passage of time.
Jingdezhen’s traditional throwing method allows only a single opportunity to form the piece, with no possibility of correction. He embraces this irreversibility. Each work becomes a direct exchange between hand, material, and inner state, reinforcing his belief that incompleteness and imperfection are essential conditions rather than flaws.
His earlier study of bonsai cultivation sharpened his sensitivity to slow change, proportion, and natural balance, influences that continue to inform his ceramic language.
Yizhi’s practice grows out of Jingdezhen’s traditional ceramic language, yet avoids ornament or excess. Forms are understated and direct, allowing proportion, balance, and surface to carry meaning.
Through refined throwing skills and wood firing, his works retain visible traces of making, preserving asymmetry, texture, and variation rather than smoothing them away.
Surfaces shift subtly in tone and depth, shaped by flame, ash, and kiln atmosphere. What emerges is a sense of endurance rather than display, vessels that feel lived with rather than finished.
Wood firing plays a central role in his pursuit of essential beauty. He considers it the most honest and demanding method, one that requires patience, acceptance, and repeated failure.
Ash from burning firewood and rice husks settles naturally onto the surfaces of his vessels, forming subdued, mottled tones that cannot be predetermined. These restrained colors and textures carry a grounded presence, offering a sense of calm through their lack of insistence. In Yizhi’s work, beauty is not imposed but revealed through process, time, and respect for the natural behavior of materials.
