Much of Japanese pottery developed in remote areas.

That's because the raw materials, clay and firewood, are available in that location.

Because pottery developed in remote areas, it often incorporates many characteristics of the local climate and region.

Just as the taste of vegetables changes depending on the water and soil, the characteristics of pottery also differ.

Karatsu pottery is technically influenced by the Korean Peninsula, but it is made using Karatsu clay and fired in Karatsu kilns.

In other words, Karatsu ware can be defined as pottery that embodies the local culture and regional characteristics of Karatsu.

That's why ceramic artists are so particular about the clay they use as their material.

That hasn't changed, neither in the past nor the present.

When the natural environment of Karatsu (the unique characteristics of the clay) and the inner nature (sensibility) of the artist resonate with each other and form a single entity, the form of Karatsu pottery is born.

The distinctive style of Karatsu ware lies not merely in its external form, but in the intrinsic development that gave rise to that unique character.

I believe that this endogenous development gives rise to the individuality and philosophy of pottery.

In a sense, modern times are an era of loss of individuality.

While contemporary ceramics may appear unique at first glance, creation that does not acknowledge intrinsic development is nothing more than a work without a foundation.

The artists of Karatsu learn the fundamentals from classical works and are challenging themselves to create contemporary Karatsu pottery.

Sakurei Okamoto is challenging the status quo in contemporary Karatsu ware by seriously engaging with the clay material he uses.

The artist's prayerful attitude can be seen in the Karatsu pounded earthenware piece, "2018 Sunrise."

Yasumoto Kajiwara's "Jeong Won (Geumgangsan Mountain Painting)" is a sculptural work inspired by Mount Geumgang, a famous mountain on the Korean Peninsula.

I sense a new challenge for Mr. Kajiwara.

Kiyomi Kawakami's "Black Karatsu Tea Bowl" is a tea bowl created using a carving technique not found in Karatsu ware, and it is made over time while she converses with the clay.

Therefore, it reflects the artist's aesthetic sensibilities.

Masahiro Takehana's "Nanban Tea Pitcher" possesses a dignified elegance amidst its simple design.

It has long been said that "you can tell a potter's skill by looking at their teapot."

Sajiro Tanaka is deeply connected to all things in heaven and earth, and he creates pottery with his life on the line.

He is truly a ceramic artist dedicated to his craft. His intense way of life can be felt even in his "Karatsu tea bowls."

Nakazato Taiki's "Karatsu Nanban Hammered Vase" is a beautifully shaped vase.

The body tapers towards the base, making the overall piece appear larger. Furthermore, the kiln firing process creates a very attractive effect.

The "beaten blue Karatsu jar" by the 14th generation Nakazato Tarouemon is made using a beating technique, where the jar is hammered from the inside, resulting in a plump and rounded shape.

Additionally, the surface of the vase is stamped with chrysanthemum and lattice patterns.

Setsuo Hamasaki is a rare ceramic artist in Karatsu.

Unbound by conventional notions of pottery, the artist creates freely. The ceramic figurines "Ichifuku no Toki" possess a mysterious atmosphere.

Fujinoki Tohei's "Korean Karatsu Sake Pitcher," which features a combination of straw ash glaze and black amber glaze, reflects Tohei's gentle personality.

The exhibition will also feature object-like works.

Kentaro Murayama's "Painted Karatsu Vase" is bright and free-spirited, just like the sunshine of Karatsu.

The patterns in the paintings also have a rhythmic quality that is characteristic of Karatsu.

Yasunaga Raizan's "Karatsu Tea Bowl" is based on the Okukorai style of old Karatsu ware.

While diligently learning the fundamentals, I aim to create a new form of Karatsu ware, a style that is uniquely my own.

Naoto Yano started out as a sculptor and now creates pottery using Karatsu and Joseon Dynasty styles as his models.

The following works are his specialties, "Korean Karatsu sake pitchers" and "spotted Karatsu sake cups," but larger works will also be exhibited.

Keiko Yoshino is a very honest and refreshing writer.

That natural, unpretentious attitude is reflected in his work.

"Black Karatsu Ceramic Panel with the inscription 'Waves'" is a contemporary expression of Karatsu ware using its materials and techniques.

Koichi Mori (Art critic, Standing Director of the Japan Ceramic Society)