The ceramic art of Xu Min is full of the traditional spirits of China and modern aesthetic consciousness. On the bases of comprehensively delving into the traditional ceramic modeling ingredients of China, he gives new reinterpretations of the ancient modeling. By turning the ceramic model inside out, he reconstitutes a whole new model and space after cutting and dividing of the ceramic models. This kind of creation reflects the profound understanding on the philosophic theory of Laozi, that is "to have is to be benefited, and to have not is to be applied", and at the same time infuses in his works strong senses of modernity. The profound national sentiments and forward-looking consciousness of his ceramic products have won him attentions of the art critics and collectors from the United States. This exhibition is his first personal exhibition in China. The exhibits will be divided into three categories.

The first category: Futuristic Ingredients. This series of products present his retrospections of the Chinese traditional culture. The series have broken away from the traditional ceramic modeling, and begun revolutionary regrouping of these traditions. The work does not discard the Chinese spirit, but rather incorporate it with modern or futuristic ingredients, revealing the ancient dialectics of Yin and Yang and the oversights on Yin among people.

The second series: Relative existence. Sketch a whole new space with physical articles to give prominence to Yin.

The third series: Free Space. The series is the further development of the above-mentioned two series, using incomplete models to form a complete concept. Some of the products can be reversely placed or can be placed in all angles, with a four-dimensional presentation and practicability of .candleholder or vase etc.

The ceramic art of Xu Min takes its root in the confidence of the Chinese traditional culture, and this kind of confidence originates from the knowledge of his own culture and the understanding of western arts of a Chinese. He has successfully found among the differences of oriental and occidental cultures the aesthetic combination of the two. With fire and earth, he carries forward the spirit and blood of Chinese traditional culture, and explores the boundless space of the representation for ceramic arts through the combination of eastern and western aesthetic concepts.