Traditional Works

In traditional Japanese non-glazed ceramic art, the creator– the potter-- is required to follow the dictation of the material; "a-creation," so to speak. The potter's work becomes metaphysical, when s/he faces the material as embodying otherness rather than regards it as material to be processed. Facing the material as the other is observed in traditional Japanese craftwork in general. This attitude is based on the understanding that each and every earthly existence owns its own soul which can be beyond their understanding. This attitude is observed in original Shinto, which emphasis respect for the other-ness of the world. Simple spirit, but with diversity.


1989

1989

"Cloth Texturing, Autumn Grass Pattern Vase," (w)39.0 -(d)39.0 -(h)34.0 cm, stoneware and slip painting, wood fired and charcoal smoked, traditional way fired to 1250 degrees C., eight-day firing. Exhibited at Traditional Crafts New Exhibition, Nihon Kogeikai, Tokyo, Japan, 1989.

1999

1999

"Faceted Jar with Lid," (w)21.0 - (d)21.0 - (h)33.5cm, wheel-thrown and altered stoneware with natural wood ash, Bizen traditional way fired to 1300 degrees C. oxidation, eight-day firing, "Edge to Edge" Victorian Ceramic Group. Exhibited at Kidogo Arthouse, Bathers Beach Fremantle, Australia, June 27- July 11, 1999.

The British Museum, 1996

1993

"Bizen-style Long-necked Ovoid Pottery Vase," (w)17.5.0 -(d)17.5 -(h)46.0 cm, wood-fired stoneware with natural wood ash, Bizen traditional way fired to 1250 degrees C., eight-day firing. Exhibited at Leigh Gallery, London, June 15-27, 1993. Collection of The British Museum (U.K.), 1996.

2003

2003

"Bowls in Sets of Five ("Ireko")," smallest (w)17.7 -(d)17.7 -(h)5.5 cm, largest (w)31.3-(d)31.3 -(h)8.5 cm, wheel-thrown and stoneware, salt-water sprayed interior, black slip exterior, bottom upward when stacking kiln, traditional way fired to 1250 degrees C. oxidation, eight-day firing. Published in 500 Bowls: Contemporary Explorations of a Timeless Design, Lark Books, A Division of Sterling Publishing Co., Inc.,New York, U.S.A., 2003.

2nd International Ceramic Triennial UNICUM 2012

2012

"Side-fired Jar and Bottle " Side-fired Jar and Bottle ," (w)38.0 -(d)16.5 -(h)18.5 cm, wheel-thrown and altered stoneware, with natural glaze, fire change, traditional way fired to 1250 degrees C. reduction, eight-day firing, 2nd International Ceramic Triennial UNICUM. Exhibited at European Cultural and Technological Center Maribor (EKTC), Manor Betnava, Slovenia, May 15- September 30, 2012.

Ceramic Studio, Hungary, 2017

2017

"Side-fired Vase with Lugs," (w)14.0 -(d)10.5 -(h)20.0 cm, wheel-thrown and altered stoneware, with natural wood ash runs, traditional way fired to 1300 degrees C. reduction, eight-day firing. Exhibited at "THe First 40 Years" an Exhibition Celebrating the History of the International Ceramics Studio through its Collection of Contemporary Ceramics. The Pesti Vigadó is the seat of the Hungarian Academy of Arts, August 17 -October 8, 2017.

500 Bowls: Contemporary Explorations of a Timeless Design, Lark Books, New York, U.S.A., 2003

Chawan

"Bizen-style Side-fired Teabowl," (w)15.5 -(d)12.9 -(h)9.2 cm, wheel-thrown and stoneware, with natural wood ash glaze showing blue glass "fingers" and "dragonfly eye", Bizen traditional way fired to 1280 degrees C. reduction, ten-day firing. Published in 500 Bowls: Contemporary Explorations of a Timeless Design, Lark Books, A Division of Sterling Publishing Co., Inc.,New York, U.S.A., 2003.

In each naturally-glazed ceramic, we can recognize the traces of the heated clash between the different forces in nature. The maker experiences a single moment, while the recipient is aware of the existence of a small, individual thing passing into the next world of peace and tranquility. Through this introspection is born the shared spirit of beauty.

Teabowls; originally for daily use, from the functional point of view their history dates back to the woodenware known as "goki". Certain kinds of daily tableware made from fired clay, such as ricebowls, gained a special status through their use in the soulful culture nurtured by the Way of Tea. The avant-garde perspective enabled these handy bowls to make a universal debut. Masters of the tea ceremony, as artists, provided an artistic perspective without creating actual pieces. This is analogous to the role Marcel Duchamp played when he provided the potential for new points of view by displaying a urinal in an exhibition and proposing the concept of "ready-made" by using bicycle wheels and a stool.





more of me facebook.png google_pluse.png