A. At Su Xianzhong's Studio in Yunyu porcelain village, Dehua, Fujian, I dripped thick porcelain slurry from a height onto several hollow porcelain tubes, forming a stalactite that closely resembles a natural one. I am not a hyperrealist sculptor; I merely employed the same method nature uses to create stalactites, a technique that could be described as divine craftsmanship.

B. Utilizing conventional sculptural techniques, I fashioned several stone pieces from porcelain clay, embedding numerous geometric shapes for them to deliberately mimic the characteristics of pyrite, crystal clusters, and quartz. Subsequently, a local master craftsman applied these pieces a gemstone glaze to, a fantastical kiln transformation style produced by incorporating crushed rare minerals into the glaze, also known as crystalline glaze.

C. Following the logic behind reed-like stone formation, I immersed several bundles of cotton rope fully into porcelain slurry, aiming for complete saturation. I envisioned that these knotted and bundled rope structures might slightly crack during the drying process, which necessitated multiple saturations. They could initially be fired in a kiln at around 800 degrees Celsius. The cotton ropes should disappear during the firing process. If cracks appear still, glaze could be sprayed to fill the cracks, yielding hollow porcelain tubes. Such structures could potentially be connected to a water circulation system or, with drilling, turned into unique wind instruments.

D. I conceived the idea of scanning a stalactite formed by the dripping process to obtain a 3D model and then replicating the ceramic stalactite using 3D ceramic printing. The horizontal lines characteristic of 3D printing will be preserved, and the volume enlarged to its maximum limit.

E. I utilized ceramic 3D printing technology to print a conch with an exposed cross-section. The natural horizontal lines that emerge from 3D printing resemble the growth pattern of a conch, and the internal support structures required by 3D printing technology are similar to the conch's structure. Ceramics must be fired at high temperatures in a kiln. At temperatures above 1300 degrees Celsius, the clay structure in a molten state is prone to collapse, necessitating the use of both internal and external brackets.

F. Therefore, I then intend to print the same conch and stalactite 3D models in Beijing using calcium carbonate material. This would require the independent development of a calcium carbonate material printer.