I cut the clay that I formed on the potter’s wheel and changed the form. Through putting a glaze on it, I brought the form and the glaze together and a new form emerged.
I demanded a form and lines that can only be achieved through the rotator of the potter’s wheel and pursued its potential. I made a pot through the potter’s wheel and scraped off while shifting the centre. Also within a moving form, I expressed the balance as a whole through scraping off the plateau and the edge horizontally.
I twisted the form and after the work dried, I put on black make-up. I struck it and made decoration on it, in which I put red make-up. The work got oxidation fired at 1230° C. I expressed the transience of the emotional barrier called memory, how it is weathering as if it was moth damaged.
I pursued a form that emerged from the unlimited removing of the border of the inside and outside of the vessel’s form. For the decoration, I used white and coloured make-up and fired it. Afterwards, I put overglaze colour on it.
“What is a vessel?” was, what I was thinking constantly when manufacturing the work.
The beauty of the ridges of the rising mountains and the forever continuing elegant course of the river. I expressed a world whose nature is expanding infinitely.
I involved an expanse in whose soft form the centre of the potter’s wheel is being felt. I developed a special glaze, left behind the original feeling and expressed a simple white, which is similar to silk.
I made a small plateau and manufactured a tightened shape.
Rough kaolin has been used and the work was hand formed.
In “white”, aspiration, challenge, and in the inside, colour can be seen.
Presently, having the earth as theme, I am manufacturing the “Chapter of Earth”-series.
The work expresses the energy and quality that the earth possesses and how its expression changes according to rain and wind. In the form of a vessel, the present work expresses the energy from the inside to the outside at the moment the globe and the earth were born.
I expressed a church that turned into a ruin as a porcelain object. It is an image showing how the hollowed church is decaying. Therefore, some cracks and dents on it are intended.
I expressed a radial expanding herringbone pattern. By inlaying white make-up and putting on shadings on half-way, I am aiming a foggy atmosphere. I pulled out the flavour of kaolin and fired it many times in order to set the overall colour tone.
There is a “shape of a vessel” inside of me that is changing without stopping. While thinking of a texture, full of wishes and prayers of a people somewhere far away, I am painting porcelain.
The Jomon people in ancient times were living together with the nature. The people living in Saga were also calling the Ariake Sea pre-sea. Through experiencing the Ariake Sea at ebb tide and by registering under the Ramsar Convention, diverse protection of diverse species was aimed and I manufactured the work wishing a huge potential of the sea. I combined the Gata-ski (a springboard) and formed it.
I cut off the potsherds of the smelling rain from heaven and constructed it with ceramics and tried an expression containing the smell of the rain.
Kenji Kaneko, Chief Examiner of the Art Crafts and Objects Division
Last time, I wrote that many powerful 3d modelling works were exhibited, which led to the fact that these works won awards. This time, vessel type works and 3d works were almost antagonizing, impressive works were exhibited and it can be said that they shared the awards.
There was no work exhibited of which can be said it was surpassing. But when looking at the winning works, one is understanding that this does not mean that there were not any powerful works. Works were exhibited that were quite close to those which won grand prizes at major competitions during the last one, two years, which means that the exhibited works this time mostly indicated their presence. It is nearly impossible for those who manufacture ceramic and technical art works to come up with a completely new plan in only one or two years. For those who appreciate these works, it also does not make sense to demand this.
At the prize selection of grand prize and upper-ranking works, which are the flagship works of this competition, there was the wish from the examiners to differentiate oneself from other competitions. Within this dilemma, the examiners were troubled. And finally, they returned to the starting point of the competitions and carried out the prize selection by deciding that “those of the exhibited works shall be chosen for the grand prize, which are most powerful”.
The work “Kiritsugi – kai –“, which won the Minister of Education, Culture, Sports and Science Award (first rank), is a work that has been combined of cut cylindrical types formed with the potter’s wheel. The modern sense of the form of the combination and the power of the potter’s wheel is shining. It is an excellent work being a representative for how contemporary pottery modelling should be.
The curved surface and the peristome of the work “Seihaku jihachi”, winning the Governor of Saga Prefecture Award, are skewing and cross with each other, which is a fresh appearing optic illusion.
The work “Fūka” which won the Mayor of Arita Town Award has improved further and stands in line with the works winning a grand prize last time.
It could be seen that the vessel type works as well as the 3d modelling works, ranging from the 400 Years of Arita Porcelain Commemoration Award to the Yomiuri Shinbun Award, the styles of the artists have over the past some years developed. Further, the number of exhibited works rose slightly and including this fact, a rehabilitation tendency correlating with the mass and quality of the pieces at this major competition might be indicated. The number of exhibits at other competitions is also rising a little bit.
For the future I strongly hope that this tendency may be strengthened more and more and that the aspect of being an international competition will be further expanded.