A message for "Shigaraki - The Ode to the Earth: Twelve Artists Exhibition II"

 

Now that I've reached the age of 70, I've started to think about my original intentions once again.

In his work "Kakyo," which could be considered a treatise on the art of Noh theater, Zeami wrote, "Never forget your initial intentions regarding right and wrong. Never forget your initial intentions in each stage of life. Never forget your initial intentions in old age."

"The initial resolve of right and wrong" refers to the initial resolve of one's inexperienced self, while "the initial resolve of different stages" refers to the initial resolve that develops at different ages.

Now that I'm seventy, I can write a little more, but I no longer stay up all night writing like I used to. The body inevitably ages, whether you like it or not.

 

However, I am grateful that I still have work even at this age, and I am currently enjoying my "retirement life."

Noh theater is uninteresting without flowers. Life is the same, which is why the "flower of the heart" is so important.

It is said that Noh is not something to be seen with the naked eye, but with the mind's eye. I think this applies to all art forms.

A life without flowers is boring, and the same is true for works of art.

 

Sumiko AokiShe says she loves Oribe and Kiseido ware. Even after moving from Nagoya to Shigaraki, that feeling hasn't changed.

Aoki's paintings are abstract and improvisational, blending together the scenery, objects, events, and emotions he has seen throughout his life.

This "Kiseto Vase" features abstract painting in the style of Oribe ware, with the crimson of red shell providing a nice accent, establishing Aoki's unique style.

 

Sarou OnishiHis "Shigaraki Nezumi Tea Bowl," as its name suggests, represents a "new" challenge for him.

Instead of creating soil tailored to specific purposes, the natural characteristics of the soil are utilized by combining raw soils with various properties as they are.

As a result, white clay, coarse clay, fine clay, dense clay, and iron content are mixed together in streaks, creating a unique texture that cannot be achieved with any single material.

The inside of the teacup is coated with glaze to prevent water from leaking out.

 

Tosei OkudaI think that Okuda's Shigaraki tea bowls are probably based on the mountain tea bowls that he admires.

After much trial and error, he must have arrived at this tea bowl as an expression of his way of life and his spirit.

Okuda says he wants to return to his roots and create a tea bowl that only he can make, one with the dignified style of an ancient samurai.

The phrase "to rise up with a single sword" seems to carry that kind of meaning.

 

Shusaku KanzakiHe says that while inheriting tradition, he doesn't aim to create something old-fashioned, but rather works that are relevant to the times, and that he wants to create works that will endure into the future as an artist.

It was from this sentiment that the beautifully fiery Shigaraki water container was born.

Zeami warns against becoming complacent with "the flower of the moment," because "the true flower" is what is truly important.

It seems that Kanzaki's challenge in search of that "true flower" has already begun.

 

Teppei KomakiHe has pursued his own unique sculptural expression using a semi-underground kiln that replicates the ancient Shigaraki kilns, but when expressing himself, he uses geometric patterns.

The town of Tarao in Shigaraki, where he currently lives, is the highest point in Shigaraki, and he says that when he looks out at the scenery from there every day, he sometimes finds himself thinking about "ancient times."

The "Carbonized Geometric Pattern Pourer" is a dreamy work born from such aspirations.

 

Hiroshi SakoIn addition to his wood-fired kiln in Shigaraki, he also engages in carbonization firing in a wood-fired kiln once a year.

The reason is that before coming to Shigaraki, I encountered Suzu ware from the Noto Peninsula.

This particular "carbonized ridged tea bowl" features a bold variation in the ridged pattern, resulting in a uniquely crafted tea bowl.

The solid form and the elegant, charred black color are what make this tea bowl so appealing.

 

Nozomi ShinoharaAlthough the rim construction is different, I also exhibited a "Kiln-fired Jar" last time.

This artist's work is characterized by its striking depictions of earth and ash melting together, as if biting into each other, based on the unglazed stoneware technique.

Shinohara is relentlessly pursuing the fascinating qualities of Shigaraki's white, feldspar-containing clay and the potential of that clay.

In contrast to the varied and expressive surface of this "Kiln-Fired Vase," the underside features a beautiful surface with numerous streaks of glaze flowing across a fiery, fire-colored texture.

 

Takahashi RakusaiI think this "cloisonné openwork bowl" might be a gift from the god of fire.

Even with careful calculation and kiln loading, it's rare to produce pieces with such elegant firing colors.

It's not just luck; long experience and intuition are also crucial.

This "Shippo Openwork Bowl" is inspired by a basket vase and comes with a small vase attached.

Despite being a veteran, this is a fresh and new work.

 

Tomoko TakamaThese layered colored porcelain pieces are works that utilize a unique technique of layering many different colored clays and then carving out patterns.

While his previous works featured relatively clear carvings, this "Layered Porcelain - Vase -" has ambiguous boundaries, and the artist says that as the accumulated memories and emotions fade, the thoughts, conversely, remain within him like layers of geological strata.

 

valleyThe "Shigaraki Tsukubai" is a white vase that breaks away from the conventional concept of Shigaraki pottery.

Broadly speaking, the history of pottery may have been a development driven by the pursuit of white ceramics.

Considering that, it's not surprising that there are white Shigaraki ware pieces.

It's said that it's more important to try and learn from your mistakes than to regret not trying, so I want to warmly support Tani's bold challenge along with his friends.

 

Aika TsumoriHer piece "Melodica Hiten" is based on the motif of celestial beings playing music in the clouds, and her beloved daughter, who will be starting elementary school in April, served as the model.

For Tsumori, his beloved daughter must be like an angel.

The artwork conveys the innocent and loving affection of Tsumori, the mother. This is a piece that only Tsumori could create at this stage in her life.

Creating something is probably about building upon those present moments.

 

Kazuya FuruyaThere is a mysterious charm to his work.

They say 99% of talent is hard work. It's that hard work that allows the remaining 1% of talent to shine.

This Shigaraki mixed flower vase was formed by hand-molding, then the surface of the vessel was smoothed by applying raw clay, and fired. Its most striking feature is the boldly shaped rim.

The cover of the direct mail (pictured above) shows a view of the flower vase from directly above.

The pale green glaze applied to the inside is beautiful.

 

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