• • 標準
  • 大
  • 特大
• 背景の色
  • 白
  • 青
  • 黒

Mugen (Yoshiaki Matsunaga), Fukuoka Prefecture

I tried to express the landscape that I feel when being surrounded by nature. It includes the mountains and rivers that I am used to see every day and also the moving of the clouds and the trees that are shaking in the wind.

Mori no koe (Yasushi Inoue), Fukuoka Prefecture

When producing this work, I felt the light that chimes in between the trees and the space in which the sound of the wind can be heard.

Chōdō (Makoto Nakamura), Saga Prefecture

Sitting towards the potter’s wheel, I expressed my own emotions and my desire that is welling up when making porcelain, into a form. I used the material’s characteristics fruitfully and finished the work with a matt tone of natural temperament.

Hakuji hachi (Seigo Nakamura), Saga Prefecture

When forming porcelain clay with a potter’s wheel, a phenomenon that definitely occurs is that the lower part of the work becomes thickly and the upper part becomes thinly. In this characteristic, I was seeking a form that is enwrapping the roundness of the centrifugal force.

Babel no tō (Toshio Shimada), Saga Prefecture

On the occasion of travelling, I came in touch with haughtiness and the tower of the Old Testament came to my mind. By using the patch technique of the potter’s wheel, I made a work out of how I do imagine the tower.

Enyū hirokuchi tsubo (Takumi Maruta), Fukuoka Prefecture

After the unglazed work dried, I tried to put in sharp furrows through the bar lines in the upper part of the work. I daubed several kinds of gosu (zaffre) with salt glaze, which the firing turned into blue color.

Seimei (Sō Uragō), Saga Prefecture

When manufacturing this jar, I tried to express the “flow” that is inside the nature of the porcelain’s kaolin.

Yū-yō-yū (Kiyomi Hirayama), Nagasaki Prefecture

I expressed the warmth and motion in the loose form of this jar.

Rin＿White (Shūji Hataishi), Saga Prefecture

I want to create a new presence by making the presence unstable. I operated with the expression of the form and the viewpoint’s flow that are based on the beauty of the material itself and a minimal trial.

Meguru (Hiroko Ban), Yamaguchi Prefecture

This work is composed by a large-sized, a middle-sized and a small-sized sphere. The three spheres keep the distance to each other and indicate a space. And the flow of the power that occurs out of the sphere’s inner parts circuits this space.

Kuchibeni bachi (Rokuhei), Saga Prefecture

Ōseiyū kokumon kaki (Yasunori Inoue), Saga Prefecture

After finishing to form this work by using the potter’s wheel, I cut off a little bit on both the front and the back side, so that it appears elliptic. On the work’s design, I put on a gradation of blue glaze onto the lines which are conforming to the form and the straight lines.

Saiko (Yodomu Yamaguchi), Nagasaki Prefecture

Tenmoku mentori kakewakehachi (Daisuke Sawayama), Saga Prefecture

I endeavored in the harmonization of the work’s form and to put on the glaze separately onto the work.

Life (Maki Schmok), Canada

I expressed the energy that life possesses. This energy can sometimes be clean and sometimes be mean-spirited and appears to be beautiful or dreadful to the viewers.

I produced a work in which one can feel the power of life and what makes the viewer think about the meaning of life in a chaotic world.

114th Arita International Ceramics Competition – Art Crafts and Objects Division – Examination Review

2017.4.18

Examination Review

Kazuko Todate, Chief Examiner of the Art Crafts and Objects Division

The exhibition was renamed into “Arita International Ceramics Competition” since last year and under the supervision of an international field, it has been carried out for the 114^th time. It appears to be rare for exhibitions of works by the public nowadays that there is no decline in the number of works handed in. The same number of works compared to last year was collected from domestic and overseas.

In general, there were many large-sized works and it was a content from which the exhibitor’s desire could be felt. There were many works from Arita, Hagi or other representative ceramics production areas across Japan which indicate the characteristic traits of these production areas. However, it is not that these works just achieved a certain level in a technical way. It turned out to be a result in which it was carefully screened whether the exhibitor created the work in accordance with expressing the technical characteristic traits of the work through a clear statement and intention.

Yoshiaki Matsunaga’s “Mugen” which received the Minister of Education, Culture, Sports, Science and Technology Award is a refreshing work that has vigorously flowing line patterns making the space on the vessel appearing lively on its voluminous vessel form. It shines through that the principle of the multiplier effect of the vessel and the pattern has been researched well. It seems as if the creator received another prize in the past but he clearly developed and thus his work received the imposing highest award.

Yasushi Inoue’s “Mori no koe”, which received the Governor of Saga Prefecture Award, is a work where clay is stacked solidly and it expresses the images of wood and forest by abstracting them. The several molded “holes” disclose the emptiness of the work’s inner part and let drift an atmosphere where the voices of the trees sound out of the inner part.

Makoto Nakamura’s “Chōdō” which received the Mayor of Arita Town Award, effectuates the surface’s intonation on a fluctuating shape. Regarding the bottom of the shape, casual devises based on the body’s form can also be seen.

Seigo Nakamura’s “Hakujihachi” which received the Saga Ceramic Art Association Award, is a work with an individual shape. Its overlapping surfaces that come in from both sides are enwrapping the space so that the shape is rising. The work’s producer made this work being well aware that the characteristic of constructing a space inside and outside of the vessel, which is an abstract form, is plastic.

Also the slenderness of “Babel no tō”, receiving the Asahi Shinbun Award, as well as the form and dexterity of the usage of salt glaze in “Enyū hirokuchi tsubo”, winning the Kumamoto Broadcasting Award, were outstanding.

Is the expression of the work lively? Is the message, the creator wants to pass on expressed in a rearranged way? Does the creator possess a firm and skillful command of the technique that is necessary in order to express this message? The creator also should have an eye for firmly viewing his or her work objectively, free oneself and be unconstrained and challenging. This is, what will open up a new ceramics world.

(In the order of the Japanese Alphabet, titles omitted)

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