Sculptural Works

Mixed media ; An encounter of ceramics to other materials

The other materials in these object, i. e. ceramic and wood, integrate quite naturally to make a uniqe view. This may be because both are, in a way, the nature. The clay, fired by the method which has continued more than one thousand years, get the spirit of eternal life. The wood, on the other hand, faced with the clay and air, is a creature with limited lifetime....because it will go back to the tears sometime..., with the clay around expressing the eternity..., because it is spiritural. The object on the other hand emphasizes the difference of these two materials, while at the same time showing that in essence they are from one and same existence.

Works to be projected since 2015, “Hijiki—Non-color,” which is created not by traditional ceramic processes, expresses “language.” The composition of the work complies with the structure of language. These are the egg shapes and the apparatuses that link to them to conjoin them. The egg shapes symbolize the ideographic element of the Japanese language, the Chinese characters (kanji), or icons. The phonographic letters, kana (hiragana, katakana) are the links, which go unrepresented. This element recognizes the individual icon of the “others,” and is provisionary and has potential for utility, but is separated and has no meaning. It cannot be interpreted, nor can it be ignored. It is a material at odds.


Confrontation

" Confrontation "

(w)97.0 - (d)25.0 - (h)51.0 cm

Wheel-thrown stoneware with slip, wire, and wood addition, traditional way fired to 1300 degrees C. in oxidized atmosphere, ten-day firing. Included in The Ceramic Desigin Book, A Gallery of Contemporary Work, p.163, Lark Books, 67 Broadway Asheville, NC 28801, U.S.A., 1998.


Inductive Inference

" Inductive Inference "

(w)49.0 - (d)34.0 - (h)52.0 cm

Wheel-thrown stoneware and slip, wood fired and charcoal smoked, fired 1280 degrees C. in oxidized atmosphere, eight-day firing, with iron rod. Exhibited at the Seres'14, 3rd International Exhibition of Ceramics and Glass, Anadolu University, Yunusemre Campus, Congress Centre, Eskisehir, Turkey, 15 - 17 October, 2014.

5-7-5

" 5-7-5 "

Approximately 170.0 centimeters in height

Fired them in a gas kiln in 1380 degrees centigrade oxidized atmosphere, two-day firing, wood and wire additions. Piece made at 1998 Panevezys International Ceramic Symposium in Lithuania and exhibited at the Panevezys Civic Art Gallery, July 31 - October 4, 1998. Note: The conception of this work is an Ofuda (Talisman) and a Haiku. Ofuda, an object that is thought to have magic powers and to attached or leaned to wall or a household Shinto altar. Included in Emmanuel Cooper, Contemporary ceramics, p.245, Thames & Hudson,181A High Holborn London WC1V7QX, 2009.

Spred

" Spread "

(w) 79.0 - (d) 19.5 - (h)51.5 cm

A number of vessels are made of the stoneware by a wheel. Put the vessels in frames, and make flat pieces. Paint the pieces with slip (iron content clay), and spread the salted water on them. Fired them in the traditional Japanese bank kiln in 1250 degrees centigrade in reduction, eight-day firing, with wood and metal stand additions. Year of production: 2005. Included in Emmanuel Cooper, Contemporary ceramics, p.245, Thames & Hudson,181A High Holborn London WC1V7QX, 2009.

Argue for Argument's Sake

" Argue for Argument's Sake "

(w) 40.0 - (d) 120.0 - (h)44.0 cm

Handbuild stoneware, natural wood ash, traditional way fired to 1250-1300 degrees, eight-day firing, on metal stand. Exhibited  at the 2008 Sidney Myer Fud International Ceramics Award. Shepparton Art Gallery, Victoria, Australia, March 7- April 27, 2008.

Ring

" Ring "

33.0 centimeters in height

Stoneware and slip painting, traditional way fired to 1300 degrees C., oxidation, eight-day firing. Exhibited at the " Makoto Hatori ", Leigh Gallery, London, 15-27 June, 1993. Collection of the Victria & Albert Museum (U.K.), 1993.

International ceramic Competition L'Alcora 2015

" Non-color "

(w) 95.0 - (d) 53.0 - (h) 9.0 cm

Stoneware with slip, with aluminum board and epoxy. Electric kiln, fired 1250 degrees C. in reduction. Exhibited at L'Alcora Ceramic Museum, June 26 - September 6, 2015. Collection of the L'Alcora Ceramic Museum (Spain), 2015.

The egg shape, the icon, is not simply meant to be an egg, per se. It is an egg as a conceptual entity. The egg, while being the very first form of life, signifies an ordinary shape and meaning, but is an infinite entity with deep potential. That egg shape, is the ideal pursued, so to speak, and is a fundamental message. The aforementioned combined images of the “two signs” respond to each other and are brought to the foreground, and are processed as information side by side. The images, while relating to one another, also question each other's “otherness.” When the relating parts link together, the icons begin to subtly adjust. That is to say, they are unified.





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